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A WOMAN'S WAY 



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VOLUME XIII 
The Drama League Series of Plays 






VOLUMES IN 
THE DRAMA LEAGUE SERIES OF PLAYS 




I. — Kindling By Charles Kenyon 

II. — A Thousand Years Ago . By Percy Mac Kay e 

III. — The Great Galeoto . . By Jose Echegaray 

IV. — The Sunken Bell . . By Gerhart Hauptmann 

V. — Mary Goes First . . By Henry Arthur Jones 

VI. — Her Husband's Wife . . . By A. E. Thomas 

VII. — Change By J. 0. Francis 

VIII. — Marta of the Lowlands . . By Angel Guimerd 

IX. — Patrie! By Victorien Sardou 

X. — The Thief By Henry Bernstein 

Other Volumes in Preparation 



A WOMAN'S WAY 



BY 

THOMPSON BUCHANAN 

Author of ''Lifey" etc. 




WITH AN INTRODUCTION BY 

WALTER PRICHARD EATON 



Garden City New York 

DOUBLEDAY, PAGE ^ COMPANY 

1915 



Copyright, 1915, hy 

DOUBLEDAY, PaGE & CoMPANY 



In its present form this play is dedicated to the reading 
public only, and no performances of it may be given. 
Any piracy or infringement will be prosecuted in accord- 
ance with the penalties provided by the United States 
Statutes: 

Sec. 4966. — Any person publicly performing or representing 
any dramatic or musical composition, for which copyright has 
been obtained, without the consent of the proprietor of the said 
dramatic or musical composition, or his heirs or assigns, shall be 
liable for damages therefor, such damages in all cases to be as- 
sessed at such sum, not less than one hundred dollars for the 
first and fifty dollars for every subsequent performance, as to 
the Court shall appear to be just. If the unlawful performance 
and representation be wilful and for profit, such person or per- 
sons shall be guilty of a misdemeanor, and upon conviction be 
imprisoned for a period not exceeding one year. — U. S. Revised 
Statutes. Title 60, Chap. 3. 




NOV 18 1915 
@CI,A414753 



INTRODUCTION 

"A Woman's Way" belongs to a class of comedy 
curiously rare on our native stage in recent seasons, 
the comedy of smart people, with a flavor of char- 
acter study to give it dignity. It has never, to be 
sure, particularly abounded in America. Mrs. Mow- 
att's "Fashion," produced in 1845 (which Edgar 
Allan Poe said resembled the "School for Scandal" 
"as the shell resembles the living locust"), was the 
first smart comedy written by a native author, and 
it was largely satirical of pretended smartness. 
There were not many in the ensuing decades, and, 
until Bronson Howard's plays appeared, none wor- 
thy of consideration. Clyde Fitch, however, worked 
industriously and well in the vineyard of upper Fifth 
Avenue. " The Climbers," "The Girl with the Green 
Eyes," "Her Own Way," "The Truth," and other 
comedies from his pen were plays about smart people, 
stiffened with the dignity of character study and not 
lacking in social satire. But Fitch was compara- 
tively alone in his field. Although such plays have 
been few in America, our heterogeneous democracy 
fvl 



INTRODUCTION 



making rather for the play of "character types," or 
for middle-class realism, they seem, however, always 
to have been popular when well written, and *'A 
Woman's Way" is no exception. 

Mr. Buchanan's comedy was produced by Miss 
Grace George for the first time on January 7, 1909, 
in Milwaukee, Wisconsin, after only eight rehearsals. 
Fortunately, however, this ridiculous lack of prep- 
aration was atoned for by a month of performances 
on the road before the New York opening, which took 
place on the afternoon of February 22, 1909, at 
the Hackett Theatre (now the Harris). For this 
New York performance the cast was as follows : 



Marion Stanton 
Howard Stanton 
Mrs. BlakeTTwre 
Oliver Whitney 
General Livingstone 
Mrs. Livingstone 
Mrs. Stanton 
Bobby Livingstone 
Salie Livingstone . 
Bert Morris 
Mrs. Morris 
Lynch 
Wilson 
Bates 



Grace George 

. Franic Worthing 

. Dorothy Tennant 

. Robert Warwick 

Charles Stanley 

Ruth Benson 

Evelyn Carrington 

Henry Miller, Jr. 

Jewell Power 

Frederick Esmelton 

Mary Fermier 

Edward Fielding 

Reginald Carrington 

. Gregory Burton 



VI 



INTRODUCTION 



Miss George continued at the same playhouse un- 
til the closing of the theatres in June, and the follow- 
ing autumn took the play on a tour which lasted for 
a. year and a half. The comedy was then '* released 
for stock," as the phrase is, and at once demonstrated 
that its initial success was due to its own merits as well 
as to the splendid performances which Miss George 
and Mr. Worthing had been giving. Miss George is 
a delicate, expert, and charming comedienne, and 
Frank Worthing, though underrated by the public, 
who as a rule really know little or nothing about act- 
ing as an art, was recognized by everybody in his 
profession as one of the most expert actors on the 
American stage. For all-round proficiency, in fact, 
he had no equal, and he has had, as yet, no worthy 
successor. But "A Woman's Way" could stand on 
its own feet. Twenty-seven American stock com- 
panies selected it for their opening bill the first sum- 
mer after its release, and twenty more different 
productions followed that season. It has been in 
constant demand ever since, averaging to the present 
time about twenty-five weeks a year. The play 
was also produced at the Comedy Theatre in Lon- 
don, where it ran for fifteen weeks, but as it was 
"adapted" for British consumption by Cosmo Ham- 
[ viil 



INTRODUCTION 



ilton, neither its success nor failure there need con- 
cern us. An "adapted" play is too often, like Leigh 
Hunt's translated poem, "a boiled strawberry." 

Thompson Buchanan, the author, was born in New 
York City on June 21, 1877, his father, the Reverend 
Anselan Buchanan, being an assistant at St. George's 
Church. The little boy was brought up, however, 
in Kentucky, by his grandmother, "whose idea was," 
he says, "that a boy should ride, shoot, swim, fight, 
and read Sir Walter Scott" — all of which he did in- 
dustriously. He entered the University of the South 
(Sewanee), where he was captain of the track team 
and left halfback on the football team, as well as an 
editor of the college paper. After graduation he 
joined the staff of the Louisville Commercial, then 
later that of the Courier -Journal. In 1898 he en- 
listed in the First Kentucky Volunteer Infantry, serv- 
ing in Porto Rico, and in 1899 served as heutenant 
and adjutant in the First Kentucky National Guards 
during the Goebel troubles. Mr. Buchanan came to 
New York City in 1903, and joined the staff of the 
New York Evening Journal, which would not seem 
a very likely training school for a serious literary 
career; He remained on that unfortunately ubiqui- 
tous paper four years, meanwhile writing two novels, 
[ viii ] 



INTRODUCTION 



"The Castle Comedy" and "Judith Triumphant," 
which were published by the Harpers. Then he be- 
gan to write plays, plugging away persistently, and 
seven times getting so hopefully close to the goal that 
advance money was paid to him, but always failing 
of the coveted production. In 1908 a play, "The 
Intruder," was at last performed in Boston — just 
once. "It was rotten," he declares, "so I wrote *A 
Woman's YV^ay* — and there you are." 

Perhaps as sure a receipt as any for writing a suc- 
cessful play is to forget the "rotten" one and begin 
anew! At any rate, it illustrates Mr, Buchanan's 
cheerful temperament, and perhaps something of the 
pragmatism a newspaper life breeds. 

To the lay reader, the amateur," A Woman's Way " 
may very well seem, in type, a trifle disappointing. 
It lacks, undoubtedly, literary polish of dialogue, a 
polish, by the way, which would be less realistic in 
the speech of the smart set than in the talk of certain 
humbler folk. It lacks, too, epigrammatic brilliance, 
which might conceivably be equally unrealistic, but 
which convention much more readily accepts as an 
attribute of smart people. The Stanton library, 
however, is not the drawing-room of Lady Winde- 
mere; it is on upper Fifth Avenue, not Carlton House 

[k] 



INTRODUCTION 



Terrace, and the epigrams do not crackle. The dia- 
logue has a certain downright American bluntness 
which sounds, sometimes, more plausible on the stage 
than pleasant on the page; and the humors of this 
dialogue he far less in the gift of phrase than in the 
*' pointing" of situations — not what is said, by itself, 
is comic, but what is said to cap a situation carefully 
developed by the dramatist. This sort of comedy, 
we need scarcely add, is by far the more effective in 
actual performance, though it demands of the reader 
a greater exercise of the imagination. 

But it is just on that account that we think the 
publication of "A Woman's Way" is of most value. 
"The Importance of Being Earnest" can be read 
with almost as much pleasure and almost as much 
ease as it can be watched in performance, though the 
performance, if a good one, adds a new element of 
delight, of course. Mr. Shaw's "Getting Married" 
can be read with considerably more pleasure and ease. 
But Mr. Buchanan's comedy, lacking these distinc- 
tively literary elements which make the Shaw and 
the Wilde works such easy reading, demands an ef- 
fort on our part to grasp its significance as successful 
drama. We have to look for those elements which 
underlie and interline the dialogue, those elements 
[x] 



INTRODUCTION 



supplied by the performers on the stage, which of 
course exist in every good play, making it, indeed, a 
play instead of a printed dialogue or short story told 
between quotation marks. If we make this effort 
successfully, we have learned just so much more 
about the art of the theatre, about the craft of the 
dramatist and the actor. 

It is fairly obvious that what caused Miss Grace 
George to produce *'A Woman's Way'* was the part 
of Marion Stantori, and that what most concerned 
Mr. Buchanan in writing the play was likewise the 
part of Marion Stanton. He may or he may not 
have had a definite actress in mind when he wrote 
(certainly he could hardly have done better than to 
keep Miss George before his eyes) ; but he certainly 
worked with the primary purpose of giving the lead- 
ing player an opportunity to act. This is a perfectly 
legitimate purpose, as legitimate as the purpose to 
preach a social or economic gospel, or to mirror a 
phase of society, or create poetry, or coin epigrams. 
Moreover, it is not incompatible with these other 
purposes. On the contrary, the dramatist who does 
not in some measure consciously and intelligently 
supply his players with a chance to act is no more 
likely to succeed on the stage than a composer who 
[xi] 



INTRODUCTION 



neglects the vocal parts of his opera, though his or- 
chestration may be thrice triumphant. We have 
had rather too much emphasis placed of late upon the 
intellectual and "literary" side of the drama, to the 
neglect of the actors. We have even bred a race of 
younger critics who never speak of the acting at all, 
or, when they do, painfully display their ignorance. 
We must not forget that the players are one of the 
elements which differentiate the acted drama from 
all other arts; that the actor's art, indeed, constitutes 
half the appeal of the playhouse to the public. The 
great dramatist writes both to utter his personal phi- 
losophy of life and to create *' acting parts" whereby 
that philosophy may be made potent through the 
medium of the players, whom he gladly recognizes 
as his allies; or even he may create his acting parts 
for the sheer joy of making possible this dear human 
game of make-believe, inventing characters for the 
love of seeing them acted. The artist with a "pur- 
pose" in the narrow sense has enriched our latter-day 
drama, of course, but he is in danger of becoming a 
bit of a nuisance, none the less. The greatest drama, 
at any rate, is the drama of character, not alone be- 
cause character endures after philosophic moods or 
social conditions change and vanish, but because 
[xii] 



INTRODUCTION 



great characters give the players the widest opportu- 
nity for the exhibition of their art, and the pubHc 
loves acting above moralizing in the theatre, above 
epigrams and fine writing of all sorts. That is why 
the enduring dramas will always be found to have 
been written for the practical stage, and very often 
for definite groups of players. A dramatist who does 
not love and understand the actor's art, and does not 
write with the demands of this art clearly in mind, 
may win a lasting place on the library shelves, but 
never in the theatre. 

Well, Mr. Buchanan wrote with the players in 
mind. He wrote to give an actress an opportunity 
to display varying emotions, to exercise varying 
feminine wiles, to portray a charming character, 
at once womanly and self-reliant (if we may be par- 
doned the contrast!), wistful and proud, gentle and 
full of sharp humor. To set such a woman, innocent 
in spite of her smart worldliness, over against another 
woman of a quite different type, and show her in a 
battle for her husband's love, is not entirely a new 
expedient in the drama; for that matter, what new 
expedients are there? But if this woman is freshly 
created, if she is a living being, moving among other 
living characters in an environment plausibly of to- 
[ xiii ] 



INTRODUCTION 



day, her story is as new as this morning's sunrise, 
after all. So what troubled Mr. Buchanan was evi- 
dently to make Marion Stanton of flesh and blood, to 
put her in situations where the actress portraying 
her could show us all her wiles, all her charm, her 
innocence and her worldliness, her brave humor and 
her moments of despair. In reading this comedy, 
first of all then, read it from the point of view of an 
actress about to play the leading role. It is from 
this angle that you will best appreciate its dramatic 
values. 

It will be noticed, too, that Mr. Buchanan does not 
shirk his dramatic responsibilities in this play. It 
was long ago noted, by Sarcey and others, that in 
every drama there are certain "inevitable" scenes, 
that is to say, certain scenes which an audience is 
made curious to witness. But not every dramatist 
writes these scenes, nonetheless. Many a play has 
failed because the author put his "inevitable'* scene 
between curtains. In this comedy, it is " inevitable " 
that the wife and the other woman should meet in 
the presence of the husband, and that they should 
come to open grapple under the very eyes of the au- 
dience. That is the tussle the audience was keyed 
to witness. Mr. Buchanan has recognized and ac- 
[ xiv ] 



INTRODUCTION 



cepted this fact, and he comes right down to business 
without delay. The joy of his comedy, of course, 
in no small measure is due to the fact that the other 
woman is not at all the sort of antagonist the wife 
expected; that she is, in fact, charming, with a 
worldly poise quite equal to the occasion. The bat- 
tle issue is not so plain, then, as Marion (and we, 
also) had been led to expect; consequently the sus- 
pense is well maintained to the end, and there is con- 
stant opportunity for the players. 

The play makes effective use of the device of reit- 
eration for comic effect, a device essentially for the 
theatre, not the printed page. It is difficult to say 
just why, but when we read how Marion adjusted 
her husband's tie, and then how the other woman 
tied it, and then how Marion came back into the room 
and declared he had mussed it again, we are not par- 
ticularly amused; while the same process, when we 
witness it on the stage, enacted by living players, 
is irresistibly comic. Similarly, as man after man at 
this strange dinner party calls the other woman Puss^ 
we are but mildly titillated as we read; but, once 
more, when we hear this ridiculous endearment come 
forth from the lips of the actors, it grows more and 
more comic, for it is an expressive monosyllabic sym- 

[XV] 



INTRODUCTION 



bol of the gathering indictment against Marion^s 
enemy. There is no wit in the word Puss; the wit is 
in the situation. 

These are but hints, of course, to guide the reader 
toward a better understanding of this play's value 
as practical drama. The comedy has, as far as we 
know, not the slightest pretence of a ''message." It 
does not even bear any evidence of being in the least 
shocked at the somewhat questionable ethical code 
which appears to prevail among its male personages. 
It takes a group of idlers as it finds them, judges 
them to be human, is confident that they are amusing 
and not unpleasant to know, and proceeds to build 
with them an interesting story, which shall permit 
the players plain opportunity for the worthy and 
well-bred exercise of their art. The stage always has 
room for such works — it always has more room than 
is occupied; and '*A Woman's Way" will probably 
continue to hold an honorable place in the repertoire 
of the American theatre for many years to come. 

Walter Prichard Eaton. 

Stockbridge, Massachusetts. 



CHARACTERS 



Gen. Livingstone 
Mrs. Livingstone 
Mr. Lynch 
Salie Livingstone 
Mrs. Stanton 
Mrs. Blakemore 
Bob Livingstone 
Oliver Whitney 
Mrs. Belle Morris 
Mr. Morris 
Wilson 

Howard Stanton 
Marion Stanton 

ACT I 

Scene: Library in Howard Stanton's house on 
upper Fifth Avenue, opposite the park. 

Time: A morning in early spring. 



ACT II 

Scene: Same as Act I except that the room is bril- 
liantly lighted and evidently prepared for company. 

Time: Thursday evening in the week following the 
events of Act I. 

ACT III 

Scene: Dining-room in Howard Stanton's house. 

Note : This play is printed from the prompt copy 
used by Miss Grace George in the New York pro- 
duction. It is, therefore, primarily an acting version, 
and by the exercise of common judgment any 
group of amateurs should be able to produce it 
successfully without going to the expense of a paid 
coach. The author is not interested in so-called 
"literary dramas." Plays are intended to be acted, 
and if they do not "act " they are no good as plays; 
effective drama lies in the spoken word. This 
comedy acts much better than it reads, and when 
read it should be read aloud. As this is a stage 
version, the stage directions are from the stand- 
point of the actor, RIGHT being the actor's right, 
LEFT, etc., the actor's left. The Author. 

[ xviii ] 



A WOMAN'S WAY 
act I 



ACT I 

Scene: The library in Howard Stanton's house 
on upper Fifth Avenue^ opposite the park. It is a 
large room furnished handsomely and in excellent 
taste. The prevailing color scheme is red and black. 
The walls and the curtains are rich red, the furniture 
dark. There is a general air of much ivealth, and in 
part the room jars somewhat as though two minds had 
met in conflict over the decorations and appointments. 
At the left two windows overlook the park. Although 
it is a delightful spring morning, the curtains are 
tightly drawn over these. At the rear double doors 
let in from the main hall. At the right upper stage a 
single door leads to other parts of the house. Large 
handsome fireplace with marble mantel down stage 
right. Above the mantel a picture of a coach and 
four. On the wall are a number of handsome paint- 
ings. For the most part they are pictures of action , 
such as hunting or battle scenes. Mixed in with 
them are a number of rather sporting cuts. That part 
of the wall space not occupied by mantel, windows, 
[31 



Act I A WOMAN'S WAY 

or doors is taken up with bookcases that reach up 
about five feet. On top of the bookcases at intervals 
are vases and pieces of statuary. A statue of the 
Greek discus thrower stands on a pedestal in the up- 
per left-hand corner of the room. A handsome li- 
brary table stands near the centre of the roomy but 
a little to the left holding a large electrolier; on 
either side of it are large comfortable chairs. A long 
sofa near the fireplace on the right facing the 
audience and other comfortable seats about the room. 
A small fire burns in the fireplace. 

Time: A morning in early spring. 

Discovered: Howard Staxton asleep with news- 
paper over face in a big comfortable chair to the right 
of the library table. He is tall, well groomed, smooth- 
faced, the type of modern young man in a certain set, 
physically brave to the point of recklessness, but mor- 
ally weak-fibred, impressionable, easily led, and 
wax in the hands of a clever woman. He is proud 
and has inherited great wealth. At the present time 
he is evidently in trouble. His right arm is in a 
sling. The library table is piled high with news- 
papers and there are more on the floor, where they have 
[4] 



A WOMAN'S WAY Ad / 



b€t^. cT-rV' . 'hrofjm. WiLcOX, i ^'i^-r rather fed 
and very unetiums butler, is 9tamdm§ abate jqfa riHd^ 
reading papers. Tdepkome hmzaes as emrUam rises. 
Wilson goes to ^ phone. 

WiLsox [putting papers on bads of sofa]. Yes, yes, 
this 15 ^Ir. Stanton's. I can't speak no louder. Yes, 
yii. Howard Stanton. Who is it vou sav? Oh, the 
Journal. Xo. sir.. I wish vou wouldn't; this is the 
eighth time vouVe called this mondiig. >lr. Stan- 
ton will not speak with yoo. [Moses awmg from 
'phone to centre. 'Phame bmzzes. Wn^osr foes hoet 
to 'phone.] Yes, yes. Oh, the Woridy yoa say. I 
don't know, sir. I can't say. Automobile acodeiEt? 
I don't know anything about it. I know yoa'vc 
called nine times this morning. I don't know noth- 
ing about Mr. Stanton and no oth^- woman. I dm^ 
know nothing about ^Irs. Stanton. I don't know 
nothing about nothing. He won't speak to no one. 
[Wn^ox leares 'phone and goes left centre. 'Phone 
buzzes again. Wn^ow foes back to 'phone.] Yes, 
yes. Oh, the Po^. You say — ^I don't know, I can't 
say. The Pofi ? It sounds very much like the same 
voice that called this morning and said he was the 
Journal. The Journal ! Oh, no, sir. I didn't say 
[31 



Act I A WOMAN'S WAY 

you were that. I didn't call you any names. What? 
Go to where? I won't go there, I say there, I say I 
won't. 

[Wilson takes up papers.] 

Stanton [seated left] . Oh ! oh ! [Evidently in pain. 
Irritably — paper falls from his face.] Wilson, why 
wasn't I born with three hands? 

Wilson [startled]. I — I — couldn't say, sir. 

Stanton [peevishly]. If I had three hands I could 
have used two of them to manage that damned 
machine. Motoring with women, Wilson, will never 
be a safe sport until we grow men with three hands. 

Wilson [centre]. Yes, sir! Will you have the 
papers, sir? 

Stanton [looking ruefully at huge pile on table and 
iioor]. Thought I had 'em all this side of Chicago. 

Wilson [centre]. You have the morning papers 
and first afternoon editions. There is another edi- 
tion out, sir. [Offers half a dozen of the papers. On 
top is edition of Evening Journal with the headline 
*' Divorce'' in huge letters across the front page.] Thought 
you might like to see this, sir. [Holds up Journal so 
the headline can be read by the audience.] 

Stanton [sarcastically]. Very thoughtful of you, 
Wilson. 

[6] 



A WOMAN'S WAY Act I 

Wilson. Yes, sir. Thank you, sir. 

Stanton [sees the headline, shivers]. You've read 
that.? 

Wilson. I — I saw the headHnes, sir. 

Stanton. In that case I couldn't deprive you of 
the rest of it, Wilson. Read it aloud to me. 

Wilson [half frightened]. Yes, sir. [Reads with 
the servant's inflectioji, dropping his h's and with great 
unction and evident enjoyment.] " Divorce ! '* 

Stanton. Yes 

Wilson. " Divorce ! " 

Stanton. You've read that once. 

Wilson. Yes, sir, but it's here twice, sir. [Stan- 
ton grunts,] *'In Smart Set to follow sensational 
automobile accident. Wronged wife hurries to in- 
jured husband." [Quickly , in trepidation.] It says 
just that, sir. 

Stanton. I don't doubt it, Wilson. 

Wilson [accusingly , loith dramatic force], *' Who is 
the other woman?" 

Stanton. What? [Half springs out of chair.] 

Wilson. It says that here, sir. 

Stanton [subsiding]. Oh! Well, don't read it as 
though you enjoyed it so damned much! 

Wilson. Yes, sir. [Reads with considerably abated 



Act I A WOMAN'S WAY 



enthusiasm very hastily.] ' ' That a sensational divorce 
suit in the Smart Set will follow the mysterious auto- 
mobile accident in which a gay millionaire was dan- 
gerously injured and an unknown beautiful young 
woman miraculously escaped death, was learned 
on good authority to-day by a reporter for this 
paper." 

Stanton. Good authority! Bah! 

Wilson. Yes, sir ! "Although every effort is being 
made to shroud the affair in mystery and withhold 
the identity of the young millionaire and his fair com- 
panion, it was definitely established by the Evening 
Journal that the wrecked car belonged to Howard 
Stanton, the young millionaire sportsman whose sen- 
sational escapades have more than once brought him 
into public notice." 

Stanton. I say, Wilson, are you reading that 
right? 

Wilson. Yes, sir. *'At the home of Mr. Stanton 
all information was denied. Mrs. Stanton arrived 
late last night. It is " 

Stanton. That will do, Wilson! They don't 
really know any more than I do — don't see what 
use there was in buying the damned paper. 
[Wilson puts paper on table.] 
[81 



A WOMAN'S WAY Ad I 

WiLsox. Anything else, sir? 

Stanton. Any one call me on the 'phone? 

Wilson. Yes, sir; Journal eight times, World nine 
times. Sun, Globe y five times; Mail, Telegram, Staats- 
Zeitung, one time. I told them you were out, sir. 

Stanton. Is that all? You forgot the Herald, 
Tunes, and the Telegraph. 

Wilson. They're morning papers, sir. It isn't 
time for them yet. 

Stanton. Excuse me, Wilson. 

Wilson. Yes, sir; but PoUce Headquarters and 
the Coroners' office called. 

Stanton [springing up], ^^^lat? The Coroners' 
ofl&ce? 

Wilson. Yes, sir. They wanted to know if there 
was any truth in the report that Mrs. Stanton had 
attempted suicide when she heard the story. 

Stanton [rises, moves to left around table]. This is 
infamous ! 

Wilson. Yes, sir, but it was the same voice that 
called eight times before, sir. 

Stanton. Don't answer the 'phone if the devil 
himself calls in person. 

Wilson [goes to 'phone and takes down receiver, 
comes back and gathers up papers that are on the floor, 
[9] 



Act T A WOMAN'S WAY 



puts them in basket under table]. Yes, sir; anything 
else, sir? 

Stanton [moves to centre]. Any one been here to 
see me? 

Wilson. A crowd of young men in front ever since 
last night, sir. I think they are newspaper men. 
Stanton. See if they are still there. 

[Wilson goes to the window left, draws up cur- 
tain, peeps cautiously.] 
Wilson. They are there, sir. 
Stanton. All of them? 

Wilson. Yes, sir, and some more. Five — six — 
seven photographers, sir. Oh! [Jumps back from 
window in dismay, letting curtains fall.] 
Stanton. What's the matter? 
Wilson. They've taken my picture, sir. 
Stanton. Oh, that's all right — ijour picture. 

Wilson. Yes, sir 

Stanton [centre]. Anything more? Look again. 

[Wilson with ludicrous care approaches the 

window, draws back curtain a little, and peeps 

out.] 

Wilson. Three cabs and a motor, sir, just drove 

up — more newspaper men, sir. They are waiting for 

you to come out, sir. 

[10 1 



\ WOMAN'S WAY Act I 



Stanton. They'd better take a lease. 

Wilson. Yes, sir. [Suddenly bursts into a laugh.] 
Beg pardon, sir 

Stanton. Well, what is it? [Runs over to the 
window, then remembers and stops abruptly,] What's 
the matter, you idiot .^ 

Wilson [looking out]. It's Mr. Morris, sir. He 
just drove up in a hansom. They are taking his pic- 
ture. 

Stanton [gleefidly]. Fine! [Tries to peep out, 
dodging about to keep from being seen.] What are they 
doing? 

Wilson. They are all of them trying to talk to 
him at once. He seems a bit agitated like, sir ! He's 
shaking his cane, sir, and they are taking his picture 
and laughing at him. 

[TJiere comes wild spasmodic ringing of a door 
bell. Stanton is intensely pleased.] 

Stanton. Go it, Ned! 

Wilson. Yes, sir. 

Stanton. I think he must want to come in, Wil- 
son. [Down right.] 

Wilson. Yes, sir 

Stanton. Show him in, you idiot. 

Wilson. Yes, sir. [Turns toward door.] 

[11] 



Act I A WOMAN'S WAY 



Stanton. Wilson, don't let any of those report- 
ers in. 

Wilson. No, sir. But the last time I had to open 

the front door, one of them put his foot inside the 

edge and I had to squeeze it. I'm afraid I hurt him. 

Stanton. Hurt him ! Kill him ! 

Wilson. Yes, sir! [Exits hurriedly. 

[Stanton dances about joyously.] 
Stanton [crossing to above sofa]. Ned of all peo- 
ple ! Great ! 

[Ned Morris, his top hat on the back of his 
head, his cane in his hand, and evidently 
wild with rage, bursts in centre. Stops and 
stares in rage at Stanton.] 
Morris. Well! You have played hell ! 

[Ned Morris is thirty-seven, of the legal type, 
serious, dignified, but short tempered and in- 
clined to be dictatorial. Wears close-cropped 
moustache and is beginning to enlarge at the 
waist. Dressed in cutaway coat and silk hat.] 
Stanton. Did they take your picture that way, 
old boy? 

Morris [puts his hat and stick on sofa]. Now look 
here, Howard. [Angrily.] This is no laughing mat- 
ter — disgracing your family — disgracing me ! 
[12] 



A WOMAN'S WAY Act I 



Stanton [right] . Wait a minute ! Wait a minute ! 
Where do you come in? 

Morris [centre, angry and pompous]. I am your 
sister's husband. 

Stanton. Well, any girl's liable to make a mis- 
take — don't be sore on her for that. 

Morris. What! 

Stanton [bland, convincing]. Suppose you weren't 
— what then? Couple of thousand a year. Maybe 
— maybe not — as it is — nice house, fair girl, good 
clothes, great grub, wonderful brother-in-law, and 
even have your picture taken for nothing. You are 
not in so awful bad. 

Morris. Look here, Howard, I came up here to 
help you out of this scrape. 

Stanton [sits on sofa arm]. I know you did. I 
just wanted to get it out of your head that you were 
doing me any favor. It's a part of your job, brother- 
in-law. That's just why I plugged so hard with Belle 
for you. Thought it was cheaper giving you her 
share than paying you all mine to keep me out of 
trouble. Oh! I'm a business man. 

Morris [bitterly]. Yes. This looks like it. [Pro- 
duces another *' yellow''' paper loith the headline " Divorce 
Scandal' ' all the way across the top of the front page.] 
f 13 1 



Ad I A WOMAN'S WAY 

Stanton [moves to left of table, 'picking up the paper 
''Divorce'' and comparing them]. Good Lord! An- 
other ! 

Morris [centre]. What is it? 

Stanton [left, holds up divorce paper]. This "di- 
vorce" is a pretty good forecast 

Morris [going toward left]. Great heavens, man, 
you don't mean that you and Marion have separated? 

Stanton. Don't try to throw that front, Ned. 
You know as well as I know, as well as Marion knows, 
that she and I have been separated for months 

Morris. But she's been living here. 

Stanton. Yes [Shrugs shoidders and sits 

against table left.] Good house for entertaining, and 
it's hers anyhow. We've been almost as intimate as 
two people who don't speak the same language 

Morris. What's wrong? 

Stanton [shrugs shoulders]. I don't know — too 
much money, I guess. Marion's a splendid girl! 

Best in the world ! She likes me in a way, but 

[Paiise. Puts paper doiv7i.] Hang it, Ned, there 
ought to be a law preventing kids from marrying un- 
til they know their own minds. 

Morris. Well ! You two kicked up a jolly row 
until you fixed it. 

[14] 



A WOMAN'S WAY Act I 



Stanton [laughs]. By George! I can see those 
headlines now. [Declaims.] "Lochinvar Outdone! 
Yale Athlete Carries Off Vassar — [with enthusiasm] — 
Girl in Motor." Gee! she did look good that night. 

Morris. She looks just as good now. Rather 
better. 

Stanton [indifferently]. Yes? 

Morris. Can't it be fixed, old boy? 

Stanton [rising from table left, goes to tvindow left]. 
My dear Ned.. [Shakes his head ivith something like a 
sigh.] There is no record of a man dreaming the 
same dream twice. When you wake up, you wake up, 
and when you go to sleep again it's another dream. 

Morris [sits on table]. Then I take it you and 
Marion have waked up? 

Stanton [nods with show of considerable real feeling]. 
It might have been all right with a little place in the 
country and a couple of kids, but dad's money and 
Marion's health killed that. Then she went in for 
society and culture on the side. 

Morris. And you for sports and chorus on the 
side. 

Stanton [impatiently]. Oh, cut that preaching! 

Morris. Well, all I can say is, it's a damned 
shame it didn't stick. You are both thoroughbreds. 
[15] 



Act I A WOMAN'S WAY 

Stanton [sits in chair left]. Now you've hit it. 
Thoroughbreds don't go for double harness. And 
every time there's a kicking match — I'm kicked. 
[Despondently.] Don't see really what I was born 
for, unless to give these newspaper chaps something 
to do. [Sits left of table.] 

Morris [sits]. This latest. f^ You and a young 
woman being injured is true? 

Stanton. Absolutely. 

Morris. Then it must be denied at once. 

Stanton. I knew I did right to persuade Belle 
to marry you — it wasn't an easy task, either. 

Morris [impatiently, sits in armchair]. The wo- 
man will keep quiet .^^ 

Stanton. She's not proud of it, you know. 

Morris. Is she in the chorus? 

Stanton. No. 

Morris. Manicure or milliner? 

Stanton [rising]. Neither. 

Morris [rising]. Good! Then we'll tell Marion 
it isn't true. 

Stanton [rises]. What! Lie to Marion? Cer- 
tainly not. I may be a fool, but I am a gentleman. 

Morris. Well, something must be done. You 
must say something to Marion. How will she take it? 
[16 1 



A WOMAN'S WAY Act I 



Stanton. You never can tell how Marion will 
take anything. She is as proud as a little Miss Lu- 
cifer, and game as a pebble. 

Morris. She'd never show it if she were hurt. 

Stanton. Hurt? I don't see how she can be 
hurt. She doesn't care. We've been drifting. 
[Both at table.] 

Morris. With no distinct break? 

Stanton. A row now and then, quiet — you know, 
just drifting. 

Morris [impatiently]. Then who is this 

Stanton [left]. She is a lady, Ned. And as she 
is likely to become a close relative of yours, you had 
better treat her with respect. All you need know for 
the present is that the accident did occur and she is 
a lady! 

Morris [left, rises and in sneering amazement]. 
What! 

Stanton [grandiloquently]. Don't you suppose I 
am going to protect the reputation of my future wife? 
A lady can ride in an automobile, you know. 

Morris. Are you crazy or am I? [Goes right.] 

Stanton. I'll match you. 

Wilson [appearing from centre]. A note for Mr. 
Morris, sir, marked urgent — delivered by messenger. 
[17] 



Ad I A WOMAN'S WAY 

Morris [comes to Wilson centre, takes notCy reads]. 
From those newspaper reporters. They want a 
statement. 

Stanton [moving up to Wilson, angrily]. I'm 
getting tired of this. Wilson, tell 'em to go to hell 

Wilson [goes toward door centre]. Yes, sir. [Turns 
going.] 

Morris. No ! No ! I have an idea 



[Wilson stops and moves to desk right. Mor- 
ris goes up to him.] 
Tell them if they will ^o away I will give them a 
statement later. 

[Wilson arranges paper, looks toward Stan- 
ton, who nods acquiescence.] 
Stanton. Have your own way ! 

[Wilson goes. 

Morris. Let me think. Oh! I have an idea! 

[Comes down left to Stanton.] An emphatic denial 

— with a gentle threat of libel 

Stanton. Cut out the gentle 



Wilson enters. 



Morris. Trust me- 



Stanton. Yes, Wilson. 

[18 



A WOMAN^ WAY Ad I 



WiLsox [centre]. Beg pardon, sir, but the news- 
paper men said they are waiting for Airs. Stanton to 
leave your house for her father's, and they hoped if 
convenient she would go soon, for they had another 
edition in forty minutes. 

Stanton [down left]. Such impertinence is beyond 
bearing. This whole country is being governed by a 
lot of irresponsibles hiding behind the public opinion 
they make by h'ing to and fooling the people through 
the papers. I won't stand it. [To centre.] What 
business have they to pry into my personal affairs? 
I won't stand it, I teU you. Which one sent that 
message, Wilson? I*U thrash him. [ Turn ing to right 
centre; turns hack.] 

Morris. Yes, and have the rest of them take pic- 
tures of you while you do it. Then be hauled to a 
pohce court and fined by a magistrate who is afraid 
of them. [Goes to St.^a'tox and takes him to door up 
right.] Now, Howard, be calm, leave it to me. 

St-ajstox [going toward exit right]. But, I teU 
you 

^Morris [foUoics right]. I'm your lawyer 



[During th is scene Welsox picks up basket and is 

about to exit centre when Morris stops him.] 

SnASTOS [still angry]. All right! [Exits. 

[19 1 



Act I A WOMAN'S WAY 

[Morris exits, and returns at once.] 

Morris. You stay in there and wait [Points 

to door upper stage right to Wilson.] Wilson, say to 
the newspaper men that Mr. Morris will see one — to 
represent them all. 

Wilson. Yes, sir. [Exits and returns almost imme- 
diately.] 

Wilson [at centre door announcing]. Mr. Lynch! 
[Lynch enters. He is a shrewd, clever, but rather 
cynical-looking man of thirty. Smooth-faced 
and rather jaunty in appearance. Though 
naturally cynical, he can be diplomatic and 
has all the reporter s adaptability in meeting 
people. As he enters, he gives a quick profes- 
sional look about the room, photographs it in 
his mind for descriptive purposes.] 
Morris [trying not to appear condescending]. I am 
Mr. Morris, Mr. Stanton's attorney! 

Lynch. Oh, I recognize you, Mr. Morris. We 
know most of the big lawyers, you know. 

[Morris somewhat pleased in spite of himself.] 
Morris. Ah! Won't you sit down, Mr Lynch? 
[Indicates armchair.] 

Lynch [sits in armchair right of library table]. 
Thank you. 

[20] 



A WOMAN'S WAY Act I 

Morris [stands right centre]. From the Journal or 
World? 

Lynch [smilijig]. Neither. They would not trust 
each other. 

Morris [relieved]. Oh, the Post f 

Lynch [amused]. Wrong again, Mr. Morris. This 
story only broke last night. The Fost probably 
hasn't heard of it yet. I'm from the City News. We 
serve all the papers. 

Morris [assuming great geniality]. Well, then, 
Mr. Lynch, of the City News, what can I do for you? 

Lynch. You know the story, Mr. Morris; is it 
true.f^ 

Morris. I know certain facts, Mr. Lynch. I 
must confess that I do not keep abreast of the ro- 
mances in our yellow journals. When I undertake 
fiction I choose a more enduring kind. 

Lynch. The story is that a wrecked automobile 
was found in a ditch beside the road just outside of 
New Haven, Connecticut. When the car passed 
through New Haven it had in it a young man who 
answers the description of Mr. Stanton and a young 
woman who does not answer the description of Mrs. 
Stanton. They were found unconscious with the 
wrecked car and carried away by persons in another 
[21] 



Act I A WOMAN'S WAY 

automobile. It is rumored that the woman is des- 
perately injured and the man fatally hurt. The car 
belonged to Mr. Howard Stanton, and Dr. Aspel was 
here at this house last night — and a young woman 
who does answer the description of Mrs. Stanton 
arrived — in great haste last night. 

Morris. I cannot say, Mr. Lynch, whether that 
story is true or not. 

Lynch. You don't care to make a statement? 

Morris. Oh, yes, I'll make a statement. 

Lynch. Well? 

Morris. This car of which you speak may or 
may not be Mr. Stanton's — I cannot say. The man 
in the car, however, was certainly not Mr. Stanton, 
and the woman was most certainly not Mrs. Stanton. 
I wish to say that positively. 

Lynch. Oh, we were quite sure it was not Mrs. 
Stanton. [Puts gloves on table.] Wouldn't have been 
much of a story if it had been. 

Morris [sharply]. Is there anything else, Mr. 
Lynch? 

Lynch. Where is Mr. Stanton? 

Morris. Um — he left two days ago for a trip to 
North Carolina. I have wired him and expect to be 
in communication with him shortly. When he re- 



A WOMAN'S WAY Act I 

turns I am sure he will instruct me to take decisive 
action with regard to these shameful and libellous 
innuendos. 

Lynch. And Mrs. Stanton? 

Morris. She is here, and I am making this state- 
ment at her earnest solicitation to put an end to this 
annoyance. 

Lynch. Then there is not to be a divorce? 

Morris [in amazement]. Divorce? Mr. Lynch, 
if the papers were more conversant with the lives of 
the people about whom they busy themselves imper- 
tinently and unnecessarily, the stupidity of such a 
question would be obvious. I think that is all, Mr. 
Lynch. 

Lynch [rising and moving toward Morris]. Thank 
you very much for your statement, Mr. Morris, but 
will you tell me who was in Mr. Stanton's automo- 
bile? 

Morris [shrugging his shoulders, and going to en- 
trance right. Speaks in a voice raised so it comes to 
Stanton]. Some irresponsible drunken chauffeur 
on a joy ride. I suppose with his sweetheart, a man- 
icure or a milliner probably. 

Lynch [pausing on way to the door]. Forgive one 
more question. Dr. Aspel's visit? 
[23] 



Act I A WOMAN'S WAY 

Morris. Certainly. He came to see Mrs. Stan- 
ton. 

Lynch. I believe that covers everything. 

Morris. I hope so 

Lynch. Good-day, sir. 

Morris. Good-day, Mr. Lynch. Oh, Mr. Lynch, 
you won't forget the name? 

[Lynch gets to door, when Morris coughs con- 
sciously. He turns y suppressing a smile, 
and looks at Morris qiiestioningly.] 
Mr. Edward Rowland Morris, you know. 

Lynch. I have it correctly. Good-day. [Exits. 
[As soon as Lynch has gone, Stanton emerges 
hastily from room upper stage right.] 
Stanton [angrily]. What the devil do you mean 
by calling me a drunken chauffeur.^ 

Morris [offended]. What would you have me tell 
him? The truth? I will if you wish. [Starts upper 
stage angrily.] 

Lynch [appearing at centre door]. I beg your par- 
don, but I forgot my gloves. [Evidently takes in 
everything, bid his face is kept straight. Morris turns 
toward table.] Don't worry — I see them. [Moves to 
table, picks up gloves.] You know I frequently forget 
my gloves when I interview people. [Starts up 
[24] 



A WO>L\X'S WAY Act I 



stage, then pauses. To Morris.] The name is Ed- 
ward Rowland Morris, isn't it? 

Morris [embarrassed]. Yes 

Lynch [affably]. I wanted to give you full credit 
for your frank statement, and when a name is not 
well known I am always particularly careful to get it 
right. Thank you. [Turns to Staxtox.] Would 
you care to discuss motoring — in North CaroUna — 
Mr. Stanton? 

Staxtox. I don't care to discuss anything. 
[Going up right.] 

Ltxch. Will you say who was the lady with you 
in the car? [Up after St.ajntox.] 

Staxtox [angrily]. Xo. [Down right.] 

Lyxch [down right]. WiQ you affirm or deny the 
report that Mrs. Stanton is about to file suit for di- 
vorce? 

Stantox. Such a question is too impertinent to 
answer. 

Lyxch. May I see Mrs. Stanton? 

Staxtox. Certainly not. 

Morris. I gave you a statement from Mrs. 
Stanton 

Stajntox. Mrs. Stanton is not here at present. 
[]NL\Riox Staxtox enters right. She is a 
f ^25 \ 



Act I A WOMAN'S WAY 

wholesome looking and extremely pretty young 
woman in her early twenties. Though her 
face shows character and decision, a sense of 
humor rather is the predominating character- 
istic. She is a more clever woman than her 
husband is a man. She comes in thoughtfully , 
hut her face lights at seeing Ned Morris. 
Comes to him, holding out both hands.] 
Marion. Why, Ned! When did you get back? 
You've been neglecting me. I haven't seen you for 
an age. Where have you been keeping yourself? 
[Takes his hands.] 

Morris. Been busy, Marion. 

[She looks up for the first time, sees Lynch. 
An awkward pause, with no introduction.] 
Lynch. Mrs. Stanton, I am Mr. Lynch of the 
City News. 

Stanton. Mrs. Stanton has nothing to say to 
Mr. Lynch. 

Marion [quickly tvith decision]. Perhaps I have, 
Howard. What is it, Mr. Lynch? 

Lynch. We have the story of a divorce suit con- 
templated by you. 

Marion [laughing]. Divorce — I? Did you hear 
that, Howard? [With sudden seriousness.] I think 
[26] 



A WOMAN'S WAY Act I 

the fact that I am here in Mr. Stanton's house is 
sufficient answer to such a silly story. 

[Morris and Stanton are visibly relieved.] 

Lynch. Have you heard the story of Mr. Stan- 
ton's accident? 

Marion. Yes, indeed. How we have laughed 
over it. Haven't we, Howard? 

Stanton. Yes, I should say we have. [Trying to 
laugh.] 

Morris. Most amusing. [Laughing.] 

Marion. I suppose it is so unusual for a man to 
go motoring these days with his own wife that the 
papers naturally jumped to the conclusion it must be 
another woman. It's really too absurd, Mr. Lynch. 

Lynch. Oh, then you were the lady in the car? 

Marion [left centre]. Of course I was the lady in 
the car. 

Lynch [right centre]. Then allow me to congrat- 
ulate you, Mrs. Stanton, on your splendid recovery. 
The lady in the car broke her leg ! Good-day. [Exits. 
[The three, left alone, stare at one another.] 

Marion [in queer tone]. Broke her leg! [Moves 

over to centre table, drops into chair beside it, and buries 

her face on her arm, her shoidders heaving. Morris 

looks at her sympathetically, then follows Lynch out^ 

[27] 



Act I A WOMAN'S WAY 

with elaborate care. Stanton comes over beside Mar- 
ion, stands, looking like a fool.] 

Stanton [to Marion, trying to be comforting and 
not knowing what to say]. Don't take on so, Mar- 
ion — please don't. [No answer, long pause, Stan- 
ton more serious and embarrassed than ever.] She 
didn't really break her leg. He was only bluffing. 

[The shaking of Marion's figure continues. 
She seems convulsed, Coaxingly, Stanton 
turns to her.] 
Come, Marion! 

Marion [looks up, her face convulsed with laughter. 
With affected anxiety] . Didn't she really break her leg ? 

Stanton [shocked]. Marion! You're laughing? 

Marion [going off into fresh peal of laughter]. Am 
I.^* I believe I am. But you see as I haven't the 
honor of the lady's acquaintance, you can't expect 
me to be so very sympathetic. 

Stanton [terribly shocked that she takes the situ- 
ation in this unconventional fashion]. Marion, I'm 
ashamed of 

Marion [interrupting]. Most self-respecting men 
would be, dear. 

Stanton [haughty, angry, and completely non- 
plussed]. I don't, I cannot — explain. I [He 

[28] 



i 

A WOMAN'S WAY Act I 



is thinking only of her attitude y hid she purposely mis- 
understands.] 

Marion [sweetly]. Don't apologize for her coming 
out safely, Howard. You know I wouldn't have 
minded — [with involuntary intensity] — if she had 
broken her neck. 

Stanton [shocked and angry]. That is not a 
womanly speech. 

Marion. Oh, yes, it is. You just don't know. 
[Stanton turns from her angrily. When his 
back is turned she makes an involuntary move 
and affectionate gesture toward him, while her 
face shows pain and love. She must show to 
the audience by her silent acting then that she 
really loves him and her lightness and humor- 
ous taking of the situation is a brave bluff to 
hide her real deep feeling .] 
Stanton [turning back, bitterly; moving to right]. 
I might have known that would be how you would 
take it. Ever since you went in for this society 
thing all you can do is laugh and sneer at everything. 
Marion [ivith womanly dignity]. Do you wish me 
to take the situation seriously, Howard? 
Stanton. Isn't it serious .^^ 

Marion. I should hate to be forced to take it so. 
[29] 



Act I A WOMAN'S WAY 

Stanton. I might have been killed. 

Marion [getting back her poise, rising]. Oh, How- 
ard, you couldn't have done anything so ungentle- 
manly. 

Stanton [in amazement]. Ungentlemanly? 

Marion [rises]. Yes — the lady — might have a 

husband or a father — or children or [Contempt- 

iiously.] Oh, any of the relations that women of 
that sort usually have. Think how you might have 
compromised her. [He is too angry to speak and 
merely stares at her. Goes to him, right.] Now, my 
dear Howard, you must promise if you insist upon 
getting yourself into these absurd scrapes you won't 
allow yourself to be killed. 

Stanton [sarcastically]. I'll promise you that. 
[Goes to fireplace.] 

Marion [sweetly]. Thank you, dear! [Reflect- 
ively.] One thing I've always liked about you is that 
you are naturally so obliging in little things. Now, 
another man might say, yes, he would kill himself if 
he wanted to, but you are not that way. You have 
the right idea of how to hold a woman — make her all 
the little promises that you mean to keep. 

Stanton [contemptuously]. I suppose you would 
have been seriously annoyed if I had beei killed.'^ 
[30] 



A WOMAN'S WAY Act I 



Marion. Indeed I should, Howard dear. You 
know how insignificant I look in black, and as ours 
was a love match I should have to wear it for the 
limit. [Pause.] 

Stanton [at bookcase near 'phone; moves over to 
mantel. Indifferently.] Well, I suppose this ends it. 

Marion [in slightly strained voice]. What ends 
what.f^ 

Stanton [more indifferently]. What I've been 
doing — this [Pause for a word.] 

Marion [sweetly]. Disgracing yourself and your 
family? 

Stanton. Disgracing! [Turning sharply^ strikes 
injured arm. With pain.] Oh! 

Marion [with sudden sympathy]. My poor boy. 
[Turns to him where he stands holding his arm in pain.] 
Does it hurt much.? [Draws him over to sofa^ makes 

him sit down.] You've slipped the bandage 

[Takes his arm out of sling.] 

Stanton [sits on sofa right, alongside Marion]. 
It isn't anything. 

Marion. Does it hurt much? [She is busy with 
the oandage.] 

Stanton. Oh, it's not nearly so bad as the last 
time. 

[31] 



Act I A WOMAN'S WAY 

Marion [in queer voice]. You remember the last 
time, then? 

Stanton. Sure. It was [Stops short, em- 

harrassed.] 

Marion. Our honeymoon in the Berkshires. 
[They look at each other silently for several seconds, then 
both smile.] How absurd. 

Stanton. Do you remember that evening? 

Marion [softly]. Yes. 

Stanton. The turn in the road just at the elbow 
of that steep hill 

Marion. We got by the first turn safely. Don't 
you remember it was the second turn? Remember? 

Stanton. Yes — so it was, to be sure. It was the 
second turn. I'll never forget it. 

Marion [as though trying to recall]. What were 
we doing? 

Stanton. Why, Marion — you must remember 
that. 

Marion [shaking her head]. It's very indistinct. 

Stanton. You know. We came flying down 
that hill, taking the turn on two wheels, and the 
wind in our faces, and the glory of the evening sun 
on your hair, and we were laughing, laughing with 
the joy of being alive, being together, being alone, 
[32] 



A WOMAN'S WAY Act I 



and then I forgot everything and leaned toward 

you 

Marion. And then that sinking-away feeling — 
the crash and the darkness 



Stanton. And when I came to- 



Marion. I came to first, you remember. 

Stanton. So you did. When I came to — my 
head was in your lap and you were cuddling and 
nursing me 

Marion. Of course I was. Why, you saved 
my life. I would have been killed if you had 
not jerked me so that I fell on you and broke your 
arm. 

Stanton. That was the first time you ever sat 
on me. 

Marion. We had not been married long, then, you 
know. 

Stanton. And do you remember that walk after- 
ward? Two miles in the moonlight and you holding 
my broken arm? 

Marion. What a rough place it was. 

Stanton. Gee! you were good to me. 

Marion. How absurd. 

Stanton. What a start that was for a honey- 
moon. A big smash-up at the outset. 
[33] 



Act I A WOMAN'S WAY 

JVIarion. That wasn't my fault. You did it. 

Stanton. Did it nothing ! If you hadn't looked 
so good I wouldn't have leaned toward you. 

Marion. I suppose you have the leaning habit 
in automobiles, Howard. 

Stanton. Can you beat it.^^ Whenever any- 
thing important happens I always hurt my arm. 

First the honeymoon, and now d ■ 

[Marion rises abruptly and goes up stage 
right. Pause.] 

Stanton. Marion, I wonder why we can't get 
on? I thought we used to be so congenial. 

Marion [co?nes down to left of sofa]. No, Howard, 
you pretended to like what I did. 

Stanton [rises]. No, indeed, you were the one 
who pretended. But, oh, Marion, that society game 
I never could stand for. 

Marion [centre]. Poor boy, how selfish I was. 

Stanton [right]. You selfish? The idea! I 

Marion. I should have taken more interest — in 
sport, but racing was always tiresome for me and 
late suppers always gave me a headache. 

Stanton. No, indeed. I was a brute ! 

Marion. You were not, Howard. 

Stanton. Yes, I was. 

(34] 



A WOMAN'S WAY Act I 



Marion. No, you weren't. Other things — per- 
haps, but never 

Stanton [crossing, with heat]. Confound it! 
That's the way: you never will agree with me about 
anything. Let me be a brute, if I want to be. I'm 
a brute and I'm going to be a brute. 

Marion. Well, perhaps you are right, dear, per- 
haps you are. 

Stanton [goes up to centre]. You'll be well 

rid of me [Pause.] I suppose you'll marry 

again? 



Marion. Do you 

Stanton [coming down to right of sofa]. Whit- 
ney's a jolly nice fellow. 

Marion [moves to centre]. Now look here, How- 
ard. [Catches herself, laughs.] We are still married, 
Howard, and — I — ^haven't asked any questions 
about your future. 

Stanton [rises]. I beg your pardon. 

Marion [crossing to left]. Don't mention it. 
[Pause.] 

Stanton. I'm going to do the right thing, I 
haven't acted right, I know. I'll do everything to 
atone by helping you rid yourself of me. I'll give 
you all the names. 

[35] 



Act I A WOMAN'S WAY 

Marion [centre]. I know they will appreciate 
that 

Stanton. Why must you always be so sarcastic? 

Marion [centre]. I thought there was but one 
woman in that car? 

Stanton [sJiortly]. She does not count. 

Marion. She will count if there is a divorce and 
it will be tried publicly. 

Stanton. Marion ! 

Marion. Pray, why should we make an excep- 
tion in her case? 

Stanton. She is a lady. 

[Marion laughs contemptuously.] 
I said she was a lady. [Moves to left.] 

Marion. Doubtless 

Stanton. I tell you 

Marion. No — I will tell you something: I've 
known for a long time that you have not been acting 
entirely as you should, but it has not really troubled 
me perhaps as much as it ought. But I have never 
done one of these women the honor to be jealous. 
This one seems different. You say she belongs to your 
own station in life as well as your own class in morals. 
Very w^ell. If there is a divorce, it will be tried 
publicly and she shall stand with you — disgraced. 
[36 1 



A WOIVIAN'S WAY Act I 

Stanton. Marion ! She is innocent ! 
Marion [defiantly] . She shall prove it. 

[The bell rings.] 
Stanton. I wonder who on earth that is. 
IVIarion [indifferent again]. Another reporter 
probably. 

Stanton. God forbid! 

Enter Wilson centre. 

Wilson. Mr. Robert Livingstone. 

Bob Livingstone enters centre. 

Marion. Hello, Bobby! 

Stanton. Hello, Bobby ! 

[Wilson exits. 

Bob [coming down quickly]. Hello, Marion! 
[Puts arm about her.] Glad to see you've got your 
nerve with you. I came as soon as I saw the paper. 
[Turns on Stanton, his arm still about Marion.] 
Well, you're a nice piece of work. 

Stanton [angrily]. What do you mean? 

Bob. Mean? I mean for two cents I'd knock 
your brains out. 

Stanton. What! You? [Steps toward Bob.] 

Bob. Yes, me! 

[37] 



Act I A WOMAN'S WAY 



Marion. Bobby! Bobby! Aren't you ashamed 
of yourself? Howard hasn't a bit more brains than 
he needs — hardly that. 

Bob. How dare you humiliate* my sister? 

Marion [quickly]. I'm not humiliated! 

Stanton. You see she's not humiliated. 

Bob [turnijig on Marion]. Well, what are you, 
then? 

Marion. I'm — I'm sorry for Howard. 

Bob [amazed]. Sorry for him? AVell! 

Stanton. I don't want your pity, Marion. 

Marion. My dear Howard, you ought to be 
glad to have anything. 

Bob. I wouldn't give him anything — not pity, 
at least. 

Marion. But I can't help it. Bob. Think of the 
fix the poor fellow is in. 

Bob. Think of your fix! He has shamed you 
before the world. 

Marion. Well, he broke her leg. At least, that's 
what Mr. Lynch, the reporter, said. 

Bob. Lynch? I know that fellow. He's out- 
side. Tried to make me talk just now. I told him 
we were all coming here to sit on the case — put Stan- 
ton on trial at a family conference. 
F38 1 



A WOMAN'S WAY Act I 

Stanton. What! You? Great heavens! 

Marion. I just felt in my bones I was right to 
pity you, Howard. 

Bob [outraged]. Marion, you are encouraging 
him ! 

Marion. Don't you think he needs it? 

Bob. But 

Stanton. Oh, I say, Marion, I'm not going to be 
made a monkey of. 

IVIarion. Was it I who made the monkey of you, 
dear? [To Bob.] Think of the poor boy's predica- 
ment! Besieged in the house by reporters, shut up 
here with an abusive wife and two belhgerent broth- 
ers-in-law, and more coming. And all the while 
she is lying up with a broken leg. I'm sure she's 
three quarters dead, for she hasn't even telephoned. 

Wilson [at centre]. A lady on the upstairs 'phone, 
sir. 

[For an instant the three stand like statues. 
Marion is cut to the quick. Bobby does not 
know whether or not to go over and punch 
Stanton's head.] 

Stanton. A — a — lady? 

Wilson. Yes, sir; she wouldn't give her name, 
sir. 

[39 1 



Act I A WOMAN'S WAY 

Stanton. Yes — yes — I understand. 

Wilson. She said you would, sir. 

Stanton. I'm not at home. 

Wilson. Very good, sir. [Starts to exit.] 

Marion. Wait, Wilson. 

Wilson [pauses undecidedly]. Yes, ma'am. 

Marion. Wait outside. [Wilson exits. 

Goodness gracious, Howard! You can't say that. 
She'll think you're in jail. No, I insist on your 
speaking to her. [With mocking appeal.] Have you 
no pity? Think of her standing at the telephone — 
waiting on one leg. 

Stanton. Well — well — I'll talk to her. 

[Exits centre. 

Marion. That's right, dear. Do your duty. 
Now, Bob, you stop bullying my husband. ['Phone 
rings. Marion rushes to 'phone right.] Hello! 
[To Bob.] They've switched her down here. [Seizes 
'phone and works switch such as are used in houses 
with upstairs and downstairs connection, hi honeyed 
tones.] Hello! This is Mr. Stanton's residence. 
[Pause.] No, no! Not Mrs. Stanton — no — oh, no, 
she never speaks to Mr. Stanton's women friends. 
[Pause.] Not even over the 'phone. Who is it 
then? Oh — oh — Mr. Stanton's secretary. [Covers 
[40 1 



A WOMAN'S WAY Act I 

'phone. To Bob.] Cat! I can just smell the peroxide. 
[Into * phone.] How is Mr. Stanton? Oh, he's very 
anxious to know whether or not you have a broken 
leg. Why, the reporters said you had. I'm sure 
I couldn't tell you how the reporters know. Don't 
you know? [Pause.] Well, he was a very nice look- 
ing reporter. I beg your pardon. Miss — or Madam — 
oh, a miss! I did not mean to be impertinent. 
[Pause.] Oh, Mr. Stanton? Oh, he's doing quite 
as well as could be expected under the circumstances. 
[Pause.] Yes, indeed, I'll do my very best to make 
him recover. You can count on that. [Pause.] 
Anything you can do? Well, if it wouldn't be too 
much trouble couldn't you just send for the reporters 
and have them come around in front of your house 
so we could get in and out without having our pic- 
tures taken? I'm so sorry. I'm always saying the 
wrong thing. 

[Stanton enters hurriedly, evidently upset; 
stops aghast on seeing Marion at the 'phone.] 
Marion. Oh, here's Mr. Stanton now. Just 
wait — he'll speak to you. [Puts hand over 'phones- 
turns to Stanton; very sweetly.] There was some 
sort of a mix-up, and she was switched down here. 
I was just holding her for you, dear. 
[41] 



Act I A WOMAN'S WAY 

Stanton. Marion, hang that up! I — I — 
don't 

Marion. No, no, dear, you can't be so rude ! Be 
a nice boy. Talk to the lady. [Into 'phone.] Here 
he is. [Motions imperiously.] 

Stanton [comes over as one dazed and takes 'phone. 
Into 'phone]. Er — hello! [Pause.] I'm all right. 
[Embarrassed.] I'm very glad — yes — yes — er-r-r-r — 
she's here. 

Marion. Yes, I'm here. 

Stanton [puzzled]. My secretary! 

Marion. Yes, dear, I'm your secretary. I 
couldn't bear to embarrass a lady with a broken 
leg. 

Stanton. Oh! [Pause.] Discharge her! 

Marion [to Bob]. Well, the two-faced creature! 

Stanton. I'm very, very busy. 

Marion. Yes, he's very, very busy. 

Stanton [desperately]. Mrs. Stanton is here. 

Marion [to Stanton]. You selfish pig. 

Stanton. I'll speak with you later. 

Marion. Yes, we'll speak with you later. 

Stanton. Of course! Of course! 

Marion. Oh, of course he does ! 

Stanton [hangs up 'phone, turns on Marion. 
[42 1 



A WOMAN'S WAY Act I 



Speaks angrily]. I'm ashamed — outraged! How 
dared you do that? 

Marion. Didn't you wish me to speak with her? 
I thought I was doing you a favor. 

Stanton. Look here 

Bob [confronting Stanton]. Don't you dare use 
that tone to my sister — you — you — swine! 

Stanton. You — you — I'll [Realizing hope- 
lessly the idiocy of his position, flings himself off 
right.] 

Marion [to Bob]. How dare you call my husband 
a pig? 

Bob. Well, if he isn't a pig, what is he? 

Marion [with dignity]. He's a goose! 

Bob. I don't care a damn if he's the whole 
Noah's ark. You've got to leave here. 

Marion. Indeed! Because you say so? You're 
a pretty one to talk moral platitudes, Mr. Bobby 
Livingstone, bridegroom ! It would do well for you 
to remember when you begin throwing bricks at 
other men's glass houses that you have a pretty 
neat little conservatory of your own. 

Bob [bluffing]. Pooh! Pooh! What? 

Marion. Yes, pooh pooh what? Apparently 
you h^ye forgotten that dashing lady at Palm Beach 
[43] 



Act I A WOMAN'S WAY 



last winter, who ensnared little Bobby's heart and 
sister Marion had to advise him how to get out when 
he got engaged to pretty Salie. 

Bob [loftily]. That's all past. I've forgotten all 
about that. 

Marion. I suppose you've forgotten even her 
name. 

Bob. Er 

Marion. Oh, don't trouble to recall it. I re- 
member it perfectly. By the way, what became of 
the lady.f^ 

Bob. Well, if you won't tell, I introduced her to 
Ned Morris. He was going about a bit with her, 
and a couple of months ago I saw her at the theatre 
with Oliver Whitney. 

Marion. You introduced her to Salie? 

Bob. I was taken ill and Salie came home with 
me at the end of the first act. 

Marion. You wretch! 

Bob. Well 

Marion. Well, if you wish to keep Salie content, 
you stop trying to bully my husband, or you'll 
find yourself in his fix. 



Stanton reenters right, 
[44] 



A WOMAN'S WAY Act I 

I've been talking to Bobby, Howard. He's sorry 

he called you names. 

Stanton. Oh, that's all right. I am [Bell 

rings.] 

Bob. There come the rest. Me to hide. 

[Goes off right. 
[Mrs. Livingstone, followed by Mrs. Bob 
Livingstone, enters centre. Mrs. Living- 
stone agitated; Mrs. Bob, 7vho followed^ 
comes on like a ruffled canary, but also is de- 
cidedly important. Mrs. Livingstone is a 
woman in her late fifties, evidently of good 
birth and breeding; she still retains a sort of 
faded prettiness. While she has dignity and 
poise, she is a ivoman who has been loved 
and bullied and managed all her life. In 
everything but pride of birth and knowledge 
of her own station she has depended upon 
stronger wills for opinion. She has a tre- 
mendous admiration and a deep affection for 
her daughter Marion. Mrs. Bob (Salie) 
is a canary sort of girl, small, plump, blond. 
She is obviously a bride and the type that an 
old man or a very young man marries. She 
is selfish but loving, and is quite sure that 
[45 1 



Act I A WOMAN'S WAY 



she knows more about marriage and how to 
manage a husband than all the other women 
in the world ever learned. She is dressed in 
the height of fashion and looks absurdly 
young.] 
Marion [goes to centre to greet Mrs. Livingstone. 
Stanton goes left. Surprised]. Hello, mother dear! 
Mrs. Livingstone. My dear child. [Embraces 
Marion affectionately, almost convidsively.] 
Stanton [left]. Good Lord! 

[Salie is looking Howard iip and down very 
much like an indignant canary. Finally 
turns her back on him.] 
Marion [releasing herself]. You see Howard, 

mother 

Mrs. Livingstone [very coldly; moving to sofa 
right and sits]. Good-morning, Mr. Stanton. 
Stanton. Good-morning. 

[Marion kisses Salie, who responds effusively , 
then barely bows to Stanton.] 
Marion [goes to chair right and puts cloak on it 
and comes down to sofa, sitting on arm]. Hello, 
Salie! I was just going over to see you. Howard 
and I have been terribly lonely. 
^ Salie [centre] . You seem to have plenty of friends 
[46 1 



A WOMAN'S WAY Act I 

outside. Goodness knows they were anxious enough. 
One of them took my picture without even waiting 
for me to turn the right side of my face. I know it 
will be horrid. 

Mrs . Livingstone . They were most impertinent ! 
One of them asked me what I thought of — how — of 
Mr. Stanton. 

Salie. As though she could tell them. 

Stanton [moves to exit door up right], I have a 
good deal to do this morning — if you will excuse me. 

Mrs. Livingstone [frigidly]. Certainly. 

Salie. We will. 

[Stanton exits upper stage right. They all 
watch him without speaking.] 

Salie [turns to Marion]. Oh, Marion, isn't it 
terrible? 

Marion [to Mrs. Livingstone, amused]. What 
has happened to our little bride, mother? Has Bob 
done anything? 

Mrs. Livingstone [half tearfully]. Marion, how 
can you joke? 

Marion. I'm not joking, mother. What is 
wrong? 

Mrs. Livingstone [in despair and disgust]. 
Marion ! 

[47] 



Act I A WOMAN'S WAY 

Salie. Wrong? Well, if you don't call this 

wrong [Begins hauling up her very tight-fitting 

skirt, displays underneath a copy of the Journal pinned 
to her petticoat.] 
Marion. Salie ! 

[Salie, unpinning paper^ offers it to Marion 
so that audience can see across the front page 
in big, black type the headline *' Scandal.'* 
Takes paper, glances at it, represses an ex- 
pression of disgust, throws it on table indiffer- 
ently. Blandly.] 
Well, dear, I am relieved. I've been wondering what 
that was ever since you came in. 

Salie [complacently]. Yes — even a piece of paper 
under these new skirts does look like a physical de- 
formity. But I was determined, dear, you should 
see it. I thought it my duty as one married woman 
to another. And of course I couldn't be seen carry- 
ing the sheet. 

Marion. It was sweet and thoughtful of you, 
dear. 

Salie [gets chair from over near sofa and puts it 

centre, sitting]. I must say, Marion — I don't want to 

criticise you, understand — but I must say that I 

think if you had managed Howard a little more 

[48 1 



A WOMAN'S WAY Act I 

firmly this scandal would not have occurred. We 
wives must take a firm stand. The whole future of 
the country depends upon us — and we should appre- 
ciate the responsibility. I know I do. 

Marion. I'm quite sure you do, dear. 

Salie. Yes — I've spoken very seriously to Bobby. 
We will never have anything like this in our family. 
There will be no opportunity. [Produces from her 
purse a little hlach notebook.] See, I have a book. He 
has a book. [With great seriousness.] Every night 
I check him up and if he cannot account for every 
minute I don't let him even kiss me. Now, why 
don't you try that with Howard.^ 

Marion [the strain is beginning to tell on her. She 
laughs grimly]. Perhaps some night I might want 
him to kiss me. 

Mrs. Livingstone [horrified]. Oh, Marion! 

Marion. Well, mother, is there anything so 
disreputable in a married woman wishing her hus- 
band to kiss her? I'm sure Salie approves. 

Mrs. Livingstone. Salie has been married one 
month. 

Salie. I don't suppose it is proper just on the eve 
of divorce. Speaking of divorce, Marion 

Marion. Why speak of it, dear? 
[49 1 



Act I A WOMAN'S WAY 

Salie. Not that I want you to get a divorce — 
but if you should, you know, you would not wish this 
lovely house to go out of the family, and Bob and 

I 

Mrs. Livingstone [rises]. Salie [All rise.] 

Marion [rising; seeing the funny side but almost 
too far gone to laugh at it]. Salie, dear, won't you 
run away and tell Howard your ideas? I am sure 
he will appreciate them. 

[Mrs. Livingstone moves to library table.] 
Salie [getting up quickly]. Of course. 

[With determination y Marion takes chair and 
places it where it stood originally and sits 
upon it.] 
I'll talk to him. 

[Goes upper stage right. Exits up right. Mrs. 
Livingstone moves to left.] 
Marion [calling after her]. Don't bully him! 
Mrs. Livingstone [centre, looking after Salie]. 
Well, I cannot for the life of me understand what 
your brother Robert ever saw in that girl. 

Marion [absently]. They will be happy, I sup- 
pose. 

Mrs. Livingstone [rather querulously]. Yes — I 
suppose so. One never can tell who will be happy 
[50] 



A WOMAN'S WAY Act I 

and who will not. Now, I thought you [Both 

sit at left.] 

Marion [overwrought]. Mother! Don't! 

Mrs. Livingstone [goes toward Marion, her real 
mother nature roused]. Can't you tell your mother 
all about it, dear? 

[Marion drops on footstool beside sofa, bends 
over and buries her face in her mother's lap, 
Mrs. Livingstone strokes her hair ten- 
derly.] 

Marion. It is partly my fault, I suppose. I did 
not take as much interest as I should in things that 
amused Howard. [Rises and sits on sofa.] 

Mrs. Livingstone. I should hope not. 

Marion. I did — I did go in for society a good 
deal 

Mrs. Livingstone. Of course. 

Marion. He did not realize it was because I was 
lonesome. [Plaintively.] Sometimes, mother, I think 
that men are awful fools. 

Mrs. Livingstone [with conviction]. They are 
almost always. But that doesn't excuse — Howard 
Stanton — [goes to sofa and sits alongside of Marion] 
— bringing about such a scandal. Now we will have 

all the horrible notoriety of a divorce suit 

[51] 



Act I A WOMAN'S WAY 

Marion. Divorce suit! Oh, no, put that idea 
out of your head. 

Mrs. Livingstone. But — what can you do? 
You can't live with him after this scandal — con- 
sider your own dignity ! It's scarcely proper. Why, 
when I came this morning I hardly expected to find 
you here 

Marion. Where did you expect to find me? Out 
in the street talking to the reporters? 

Mrs. Livingstone. Marion! 

Marion. Mother, dear, it's time to end this 
hypocrisy that is merely a confession of weakness. 
It's time, I tell you, for the good women to wake up. 
We fight to get our husbands. Why not fight to 
hold them? We good women are too fond of sitting 
still and pretending to be coldly superior while 
our hearts break as the other women steal our 
husbands. Well, I'm not going to be like that 
— not much. If she gets my husband she'll earn 
him. 

Mrs. Livingstone. Marion, you always did 
have impossible ideas. 

Marion. Impossible? I'll show you. 

Mrs. Livingstone. What are you going to do? 
[Makes inquiring gesture.] 

[52 1 



A WOMAN'S WAY Act I 

Marion. Never mind now, mother; just curb 
that curiosity. I have a plan. You wait and 

see 

Mrs. Livingstone. Well, all I can say is I wish 
you had married Oliver Whitney ! 

Marion. But I didn't love Oliver Whitney — I 
loved Howard. I do love Howard. 

Mrs. Livingstone. Marion, if you are not crazy, 
you ough^ to be. I don't know where you get such 
impossible ideas; certainly not from my side of the 
family. 

[Bell rings. Enter Wilson. Mrs. Living- 
stone rises and moves to left.] 
Mrs. Livingstone. That is probably your 
father. 

Wilson [at door centre]. Mrs. Stanton! 

[Mrs. Stanton enters. She is a rather large, 
heavy, and exceedingly dignified and over- 
bearing woman. She has been spoiled by 
having too much money. Her redeeming 
trait is her intense love for her son Howard. 
She is not so fine fibred as Mrs. Living- 
stone and Marion.] 
Marion. Good-morning. It was sweet of you 
to come so early. [Goes to Mrs. Stanton expecting 
[53] 



Act I A WOMAN'S WAY 



but evidently not willing to be hissed^ but Mrs. Stan- 
ton merely shakes hands.] 

Mrs. Stanton. I would have been here two 
hours ago but for the intolerable insolence of the 
police. Coming in from Morristown they arrested 
us twice for speeding. And when the magistrate 
learned whose car it was, he said, '*0h, Howard 
Stanton's mother!" then doubled the fine, besides 
being most impertinent. [Comes down right centre 
with Marion, who stands above Mrs. Livingstone, 
wJio has seated herself in armchair left.] 

Mrs. Livingstone [rising]. Good-morning, Mrs. 
Stanton. 

Mrs. Stanton [goes to chair right with equal cold- 
ness]. Good-morning, Mrs. Livingstone. 

[They sit down, Mrs. Stanton at right end of 

sofa, Mrs. Livingstone in chair right of 

centre table. The two ladies eye each other 

coldly each evidently questioning the right 

of the other to be there. Marion stands a bit 

back and between the two.] 

Mrs. Livingstone [sweetly]. With the example 

of your son's accident, you were very brave to come 

so fast. 

Mrs. Stanton [icily]. I was not coming fast. 
[54 1 



A WOMAN'S WAY Act I 

A bare forty-mile rate. I don't understand why- 
some gentlemen don't become judges so we might 
have a little justice and courtesy in the courts. The 
idea of delaying a mother on her way to visit her 
injured son! 

Marion. It will be a great pleasure to Howard 
and me having our two mothers with us. You must 
both stay to lunch. 

Mrs. Livingstone [coldly]. Thank you, dear. 

Marion [goijig up]. I'll run away and fetch 
Howard — if you two will amuse each other. 

[Exits right. 

Mrs. Stanton. That will be very nice. 

[The two mothers sit bolt upright, facing audi- 
ence for several seconds, neither speaking. 
Both cough significantly, each thinking the 
other is about to speak.] 

Mrs. Livingstone. I beg your pardon. You 
were saying 

Mrs. Stanton. I was not saying anything. 

Mrs. Livingstone. It's a charming day — so 
bright and cheerful. 

Mrs. Stanton. Did those newspaper ruffians 
insult you? 

[55] 



Act I A WOMAN'S WAY 

Mrs. Livingstone. They were most impertinent. 
They took my picture. 

Mrs. Stanton. They wouldn't dare to do that 
to me. 

Mrs. Livingstone. No, I don't think they 
would. [Pause.] 

Mrs. Stanton. Well, it certainly was not my 
son's desire to get into the papers. 

Mrs. Livingstone. Do you mean to insinuate 
it was my daughter's? 

Mrs. Stanton. A young man of position must 
have his amusements provided he lives within his 
income. 

Mrs. Livingstone. I think he should always re- 
member his position and not humiliate his wife. 
Fortunately, my daughter has her own income, a 
wedding present from her father. 

Mrs. Stanton. I trust my son maintains his 
own establishment. 

Mrs. Livingstone. That is exactly the trouble — 
he maintains too many. 

Mrs. Stanton. Has Mrs. Howard Stanton com- 
plained? 

Mrs. Livingstone. The Livingstone women 
have a pride of birth which prevents complaining. 
[56 1 



A WOMAN'S WAY Act I 

Mrs. Stanton. Oh! The Stanton men never 
permit outside interference in their family affairs. 
Mrs. Livingstone. Fortunately the courts pro- 
vide a remedy. 

Mrs. Stanton. Most fortunately. 
Mrs. Livingstone [with a short catch in her voice]. 
Of course there must be this unavoidable disgrace 
of an old and honored name dragged through the 
mire of a divorce court. 

Mrs. Stanton [beginning to sniff also]. Divorce! 
Oh, they should think of their parents. If Mr. 
Stanton were alive ! 

Mrs. Livingstone. General Livingstone will 
take some action. 

Mrs. Stanton [loith determination]. I think they 
ought to be spanked. 

[Howard Stanton and Marion enter to- 
gether upper stage right. At the same in- 
stant the bell rings. Mrs. Stanton rises^ 
all other feelings drowned in mother love at 
sight of her son so bandaged.] 
My — my dear boy! 

Stanton [coming doivn to right of sofa]. Mother, 
I'm glad to see you. [Comes down to meet her.] 

[Mrs. Livingstone seated left. Marion goes 
[57] 



Act I A WOMAN'S WAY 



over beside her. Salie enters and moves to 
right above settee right.] 
Mrs. Stanton. My boy! [Tries to take him in 
her arms as though he were a child.] 

[Morris enters centre. He remains close to 
Stanton and his mother, while Salie moves 
to Mrs. Livingstone and Marion, so that 
the families are lined up on either side of 
centre table.] 
Stanton. Now, now, mother. There is nothing 
the matter. I'm all right. 

Salie [to Marion]. He was horrid. Practically 
told me to mind my own business. 

Marion [sweetly]. Why didn't you, dear? 

Salie. Oh! 

Wilson [centre]. General Livingstone! 

[Stanton is still standing with his arm about 
his mother and her arm around his shoulders 
tvhen General Livingstone appears cen- 
tre. General Livingstone is a man of 
sixty-fivCy tally straight, imposing, with white 
hair and short-cropped white moustache; a 
gentleman of the old school. He carries a 
copy of the Journal in his hand.] 
Marion. Dad! [Hurries to him.] 
[68] 



A WOMAN'S WAY Act I 



General Livingstone [cejitrey taking her in his 
arms]. Marion, my little girl. [Kisses her.] 

Marion [taking the paper from him]. Oh, dad, 
did you bring another of those horrible things into 
this house? [Opens papery reads headline.] *' Family 
Conference!" How absurd. Here, mother, read 
this and cheer up. [Throws paper aside.] 

General Livingstone. Marion, I have come to 
take you home. 

Marion [with simple dignity]. I am at home, 
father. 

Stanton. This is Marion's home, General. 

General Livingstone. I am Marion's father, 
and I do not recognize your right to decide this 
matter. 

Stanton [going to him]. I am Marion's husband, 
and whether you recognize it or not, I have the right. 

Marion [moving between them. She is smiling 
pleasantly but in her voice there is a ring of determi- 
nation]. And they both guessed wrong the very first 
time. [Becoming serious.] Father, Howard, you 
are both dear and you are both acting exactly as you 
should. But, dear men, that day when you grandly 
decided and women meekly submitted has gone by. 
Father, I owe you respect; I owe Howard allegiance, 
[59] 



Act I A WOMAN'S WAY 

as long as he deserves it. But no one can decide 
for me anything that is going to affect my whole life. 
I will decide it myself for myself, when and how I 

please. For the present 

[Wilson appears at centre door. Marion 
sees him, her face lights.] 
My decision is that we all go to lunch. Ned, will 
you take mother? Father — take Mrs. Stanton. 

[Salie goes first and alone. Morris moves 
to Mrs. Livingstone and both exit. Gen- 
eral Livingstone moves to Mrs. Stanton 
and both exit. The others all file out dazed, 
as she directs.] 

One moment — Howard ■ 

[Stanton pauses.] 
Stanton [after pause]. Well — what are you going 
to do? I will abide by your decision. 
Marion. Who is she? 

Stanton. I told you — she is innocent of any 
wrong. 

Marion. I promise you not to use her name if 

I sue 

Stanton [doubtfully]. Oh 



Marion. Now, who is she? 
Stanton [rather ashamed]. Mrs. Blakemore. 
[60 1 



A WOMAN'S WAY Act I 

Marion. Mrs. — the rich widow from the South? 

Stanton. Yes. 

Marion. Do you love her? 

[Stanton does not answer. Marion repeats 
distinctly.] 
Do you? 

Stanton [with sudden determination]. Hang it, 
Marion, you've been frank with me — I'm damned if 
I know. [Goes left.] 

Marion. See here, Howard ! A man goes to the 
woman who offers the most to his nature. I am a 
woman. She is a woman. If I cannot hold you 
against all other women I don't want you. I'll in- 
vite Mrs. Blakemore here and put it to the test. 
Stanton [amazed and shocked]. Marion! 
Marion [triumphantly]. That is my decision. 

[Both walk toward centre. Exit as curtain 
falls.] 

Curtain. 

[Music Cue: " That Is My Decision" Lauder's 
''She Is My Daisy."] 



61] 



ACT II 



ACT II 

Scene: Same as Act I, except that the room is brill- 
iantly lighted and evidently prepared for company. 

Time: Thursday evening in the week following the 
events of Act I. It is before dinner. 

Discovered: At the rise Wilson is on the stage fix- 
ing curtains left. He fixes curtains, then crosses 
to right and begins fooling about fireplace. Stanton 
enters centre. He is in evening clothes, but some- 
what disarranged, as though he had dressed hurriedly. 
He is plainly very much irritated. 

Stanton [sharply]. What are you doing? 
Wilson. Nothing, sir. 
Stanton. Well, go and do something. 
Wilson. Yes, sir. I will, sir. [Redoubles busi- 
ness about the fireplace.] 

Stanton [irritably]. Oh, that's enough of that. 
Wilson. Yes, sir. 

[Marion enters. She is dressed for the evening 
in a simply made but very handsome gown 
[65] 



Act II A WOMAN'S WAY 



which fits her splendidly and is calculated 
to impress by its simplicity and dignity.] 
Marion [she is evidently under a nervous strain, but 
is more self-controlled than Stanton]. Dressed? 
Stanton [at table, sharply]. Yes. 

[Marion looks him over, notices his disar- 
ranged appearance with uplifted eyebrows; 
turns to Wilson.] 
Marion [right]. I want everything to look par- 
ticularly nice to-night, Wilson. 

Wilson. Yes, Mrs. Stanton. [Continues busi- 
ness about fireplace.] 

Marion [impatiently]. No, no, Wilson, that won't 
do at all. [Comes down, moves tongs about half an 
inch, steps back, surveys what she has done with satis- 
faction.] There! That's much better. [Takes or- 
nament from mantel, holds it a moment, puts it back 
in almost the same place.] Mrs. Blakemore is dark, 
isn't she? 
Stanton. Yes. 

Marion. Move out that blue-green fire shield, 
Wilson. Dark women so love a blue-green back- 
ground. [Looks about the room, then to herself half 
aloud, while Wilson moves out the fire shield.] That 
will do, Wilson. You may go. 
[66] 



A WOMAN'S WAY Act II 

[Wilson exits. Marion gives a sigh of relief 
and satisfaction as she looks about the room.] 
I think everything looks very nice. 

Stanton [he has been fidgeting about impatiently, 
scarcely able to control himself until Wilson should 
leave the room; now breaks out angrily]. Look here, 
Marion, what the thunder is this you think you're 
puUing off? 

Marion [moves about room. Sweetly]. "Pulling 
off ? " A dinner, Howard, to your friend Mrs. Blake- 
more. 

Stanton. Well, I don't approve of it. 

Marion. Why.? Is Mrs. Blakemore some one 
I absolutely should not meet? 

Stanton [hedging]. Of course not. But the cir- 
cumstance — everything 

Marion [sweetly]. We've discussed that, How- 
ard. I'm doing you a favor. 

Stanton [dumbfounded]. Favor? 

Marion [smiles, nods]. Yes. It isn't every 
wife would introduce her successor, and you know 
she really ought to meet the family. Don't you 
think it is so much nicer to have her properly intro- 
duced? 

Stanton [gasps, looks at her in amazement, then 
[671 



Act II A WOMAN'S WAY 

uncertainly]. Well, I don't approve. Can't you see 
it's going to be an awful mess? 

Marion. Why? [Half laughing.] Won't you 
be able to conceal your affection? 

Stanton [blurting angrily]. Well, I'm not going 
to be made any one-ring circus of. 

Marion. Oh, Howard! It isn't a cheap show. 
Three rings at least. 

Stanton. Look here, I'm not going to have her 
brought here for the amusement of your family. 

Marion. And don't forget yours. [Left centre. 
Suddenly tender and sympathetic, almost maternal.] 
You poor, dear boy. I don't want to humiliate you. 
Of course not. I have invited Mrs. Blakemore. I 
am not going to insult a guest. Now come, you're 
all mussed up. Where did you dress? Let me fix 
you. Oh, that tie! 

Stanton. W^hat's the matter with it? 

[Marion comes over, begins fixing his tie, 
Stanton submitting awkwardly, unwill- 
ingly.] 

Marion [as she icorhs over tie]. Don't fidget so. 

Honestly, Howard, you act like a rebellious child 

having his face washed for Sunday-school. I must 

have you looking your best. There'd be no real 

[68] 



A WOMAN'S WAY Act II 



self-sacrifice in giving another woman a chance if 
you didn't look well, you know. [Fools with his 
collar.] 

Stanton [half choked]. Don't! You're choking 
me. 

Marion. Must! Be terrible, wouldn't it, if she 
decided she didn't want you after all this trouble? 
And how humiliating for me. [Redoubles efforts to 
make him look nice. With determination.] Oh, you 
must look your best. [Steps back.] There ! That's 
better. [Comes to left as she turns him around. Look- 
ing him over judicially.] Turn around. [Presses 
out the shoulders of his coat and smooths his hair with 
affectionate, almost maternal, gesture. Her manner 
and expression when he is not looking directly at her 
show sincere feeling and deep love.] Now you look 
good enough for any woman — to give away. 

Stanton [has submitted in half -embarrassed, angry 
way to Marion's caressing]. It's awful good of you 
to take so much trouble. Never could tie one of 
the fool things. 

Marion. That's how I learned. 

Stanton [the meaning not striking him]. That's 
so! [Face lighting.] I remember the first time you 
learned. 

[69] 



Act II A WOMAN'S WAY 



Marion [assumed indifference]. Um — don't re- 
call exactly. 

Stanton [disappointed that she has forgotten]. 
You remember one night your father coming into 
the room and it had to be tied quick. 

Marion [casually]. Oh, I'd learned long before 
then. I used to tie Oliver Whitney's. 

Stanton [angrily]. What? 

Marion. Besides, Howard Stanton, I did not 
kiss you. 

Stanton. I know you didn't. That's how it came 
untied. You dodged. 

Marion. Well — widows don't dodge. 

Stanton [takes the dig and tries to retaliate]. You 
didn't always dodge. [Nods with satisfaction.] 

Marion. Humph! Well, I'm safe now. [Stands 
before him in a particularly alluring position, looking at 
him daringly y teasingly. Stanton, being a man, makes 
an involuntary move toward her, holding out his hands. 
She steps back, smiling in teasing fashion and warding 
off his outstretched hands in pretendedhorror .] Remem- 
ber who's coming. What would Mrs. Blakemore 
say ? At least be faithful to your last love. Stay put ! 

Stanton [stops suddenly, and laughs in spite of 
himself]. Hang it, Marion. I almost forgot. 
[70] 



A WOMAN'S WAY Act II 



Marion. You're always forgetting. Remember 
the night you kissed me in the automobile and forgot 
it was lighted? 

Stanton. And you slapped my face. 

Marion. Of course I did. Do you suppose I 
wanted to be kissed in public like a Luna Park belle 
on the back of a Coney Island steamboat.^ 

Stanton. Gee! We had good times in that car. 

Marion. Yes, indeed. [Pause.] You're always 
having good times in automobiles. Gracious! 
we're forgetting Mrs. Blakemore. 

Stanton. Damn 

Marion. What was that.? 

Stanton [angry at the dig]. Oh [Trying to 

get away from the subject, looks at his watch.] They 
ought to be here by now. 

Marion. Oh, I forgot to tell you. I invited 
Mrs. Blakemore half an hour ahead of the others. 
It's so much more cozy that way. [Looks about the 
room with a hostess' last look before her guests arrive.] 
Well, I'm glad it looks nice. Whatever she may 
think of me, she must admit that I have trained 
you well for her. 

Stanton [angry and pleading]. For heaven's 

sake, Marion 

f 71 ] 



Act II A WOMAN'S WAY 

Marion. This is a dear old room. I quite envy 
you the fun of fitting it up all over again. Of course 
you'll have your new crest. 

Stanton. Crest? 

Marion. Yes. Crossed hearts above an auto- 
mobile rampant. She'd like that, wouldn't she? 

Stanton. Oh, stop it ! 

Marion. There are a few things, dear, that I 
would like to take — little souvenirs. That vase, 
you bought it for me on our honeymoon. It's a 
tall, hollow vase — it will remind me of you. 

Stanton. Marion, have you no sentiment? 
Think of your past. 

Marion. I've no time to think of the past. I 
must think of the future. Where shall I go to get 
my divorce — Rhode Island, Sioux Falls, or Reno? 

Stanton. Oh, Marion, where is your sense of 
propriety. 

Marion. I don't know, Howard; probably lost 
It where you lost yours — automobiling. Oh! [Cut 
to the quick, draws back sharply just as the bell rings.] 
Mrs. Blakemore! Goodness! [In sudden panic, 
fumbles with her hair.] I know I look a fright. I'll 
— I'll just run away a minute. [Pauses for final dig.] 
You won't really mind — and what would she think 
[72 1 



A WOMAN'S WAY Act II 



if she caught us alone together! [Exits up stage 
right hurriedly, and looking back as Stanton hastily 
fumbles with his coat, straightens his tie, and begins 
fixing himself all over again for Mrs. Blakemore.] 

Wilson [at centre door announcing]. Mrs. Blake- 
more! 

[Mrs. Blakemore enters down left. She is 
an extremely attractive looking woman in her 
early thirties, rather large, somewhat volup- 
tuous. Her face, in spite of her ability to 
be light and charming, shows disillusiony 
cynicism. She is rather a drifter, without 
the energetic strength of purpose or the deci- 
sion necessary for a social climber. She 
would be capable of tigerish fierceness if 
sufficiently wounded or aroused, but love of 
admiration and inertia ordinarily predomi- 
nates. When she enters, she is evidently 
keyed up to meet an unusual situation.] 
Stanton [shaking hands]. Charming as usual, 
Mrs. Blakemore. [In lower key.] It's great to see 



you. 



[Wilson, being a perfect butler, knowing all the 
family secrets, is determined not to miss this 
meeting. He moves over and begins fumbling 
[73] 



Act II A WOMAN'S WAY 



ivith the curtains left. Stanton's and Mrs. 
Blakemore's scene must be played very 
intimately.] 
Mrs. Blakemore [with lifted eyebrows]. I fear I 

am early. Mrs. Stanton 

Stanton [hastily]. Mrs. Stanton will be down 

directly. She — is 

Mrs. Blakemore [lightly]. Arming for the fray? 
[Wilson, at left, lets out an involuntary gasp.] 
St AissTON [looking across the room sternly at Wilson]. 
That curtain is all right, Wilson. 

Wilson. Yes, sir. [In absolute silence he moves 
slowly across the room and begins to busy himself over 
the small fire in fireplace.] 

Stanton [right centre, irritably]. There's nothing 
the matter with that, W^ilson. 

Wilson. Yes, sir. [Straightens, looks about the 
room, trying to find some other excuse for staying.] 

Stanton [sternly]. Tell Mrs. Stanton that Mrs. 
Blakemore has arrived. 

Wilson [with emphasis, showing complete disap- 
proval]. Yes, sir. 

[Exits slowly in silence, right. 
Mrs. Blakemore [moves to sofa, right]. What a 
perfect servant! 

[74 1 



A WOMAN'S WAY Act II 



Stanton [carele,sshj\. Yes, excellent. 

Mrs. Blakemore. Yes, I'll wager he knows 
every time you say your prayers. 

Stanton [eagerly]. You do look bully to-night, 
Puss. 

Mrs. Blakemore [drops into sofa, lazily]. You 
silly boy! Do you suppose I should have come 
otherwise.'^ [Mrs. Blakemore's manner toward 
Stanton is lazily, sensuously encouraging, no matter 
what the speech. Pause.] Do you think Mrs. Stan- 
ton will like me, Howard? 

Stanton [embarrassed, gets chair and sits]. Er — 
ah — I don't see 

Mrs. Blakemore [seated; reproachfully]. Where 
have you been keeping yourself? What have you 
been doing? One whole week! It isn't altogether 
fair to make yourself essential, then — pouf ! disappear. 
Besides, I've been dying of curiosity, to say the least. 

Stanton [moves chair, flattered]. I didn't realize 
I was so altogether essential. 

Mrs. Blakemore. Perhaps you're not. [With 
a look that means you are.] It was your wife I wished 
to know about. 

Stanton [somewhat crestfallen and conscience 
stricken]. Oh, my wife. She's all right. 
[75 1 



Act II A WOMAN'S WAY 



Mrs. Blakemore [reading his mood]. You do 
look handsome to-night, Howard. I have ahvays 
thought you were about the best looking man I ever 

saw in evening clothes — always immaculate 

[Pause, looks at him suddenly.] But that tie! 

Stanton. What's the matter with it? [Fumbles 
with tie.] 

Mrs. Blakemore. No, no. You make it worse 
— if possible. You do need a woman. Let me! 
[Comes over, begins tying tie.] 

[Wilson appearing centre, stops, astounded, 
coughs loudly; Mrs. Blakemore and Stan- 
ton step apart guiltily.] 

Wilson [with meaning]. Mrs. Stanton desires 
me to say that she will be down at once, sir. 

Stanton [right, holding hand over untied tie]. Very 
well, Wilson. 

[Exit Wilson. 

Stanton [to Mrs. Blakemore]. Please — quick! 
[Mrs. Blakemore hastily reties tie, Stanton with 
his head twisted, watching the door. With relief.] 
Thanks. 

Mrs. Blakemore [right centre, looking him over]. 
It takes a woman to really tie a tie. That's splendid ! 
[Goes to back of sofa.] Polly and Jim have missed 
[76 1 



A WOMAN'S WAY Act II 



you terribly. Poor little fellow. He whines about 
the house and will hardly eat anything. 

Stanton [moving over to her]. Good old Jimmie! 
But you see, I've been ver — very busy lately. 

Mrs. Blakemore [tenderly questioning]. Then 
the days are not going to be so long for Jimmy and 
me? 

Stanton. I hope not. [With enthusiasm.] It's 
wonderful how congenial you and I are. 

Mrs. Blakemore [with sincerity]. I don't know, 
Howard. I've met lots of people, but you are the 
squares t and the best fellow of them all. I think 
at heart you are on the level. I reckon that's why 
I like you. 

Stanton. We do think the same about most 
things . 

Mrs. Blakemore [warningly]. Don't forget our 
one difference. 

Stanton [impatiently]. Oh! 

Mrs. Blakemore [reluctantly, hut gently firm]. So 
long as you are married, you owe a duty 

Stanton. Oh! [Makes impatient gesture.] 

Mrs. Blakemore [cautiously]. There will be an 
action? 

Stanton. I can't let you be involved. 
[77] 



Act II A WOMAN'S WAY 

Mrs. Blakemore. Some of her friends have seen 
us together. 

Stanton. Yes. 

Mrs. Blakemore. It must have been a terrific 
scene. Really, Howard, before this came up, I 
never properly appreciated your strength of char- 
acter. I apologize. When that invitation came — 
[acting out scene] — little Elizabeth just put down her 
coffee cup and said: "Elizabeth, you are flabber- 
gasted. You have cruelly misjudged a remarkable 
young man." Honestly, my friend, how under 
heaven did you ever induce her to invite me.^^ 

Stanton [behind sofa]. Induce her? I couldn't 
stop her. 

Mrs. Blakemore [startled]. Then she knows 

Stanton [back, nods his head with fearful affirma- 
tion]. Yes. 

Mrs. Blakemore. What ! And you let me come 
without knowing 



Stanton. Yes, yes — yes 

Mrs. Blakemore. How dare you do a thing like 
that? 

Stanton. You often asked me to let you come. 

Mrs. Blakemore. I — asked — well, really I'm 
not going to be made a one-ring circus of! 
[78] 



A WOMAN'S WAY Act II 

Stanton. No, three rings at least. She — you — 
and I. 

Mrs. Blakemore. A holy show! Now I want 
to tell you, Howard Stanton 

Marion enters. 

Marion [comes forward smiling as conventional 
hostess]. I'm sure this is Mrs. Blakemore. [With 
meaning.] 

Mrs. Blakemore [quickly recovering]. Mrs. 
Stanton. 

Marion. So charming of you to overlook the 
informality of my invitation and let me presume on 
your friendship for Mr. Stanton. 

Mrs. Blakemore. It's really remarkable we 
have not met before. I am sure we must have in- 
terests in common. 

IVIarion. We probably have. [Sweetly.] Yes, 
I have a number of friends in the West now — 
both Sioux Falls and Reno. Probably you've met 
them? 

IVIrs. Blakemore [smiling]. No. I'm from the 
South. 

Marion. How delightful! We have met at 
last. 

[79] 



Act II A WOMAN'S WAY 



Mrs. Blakemore. Yes, indeed. I've looked for- 
ward to it. 

Stanton [clumsily y trying to lighten the situation]. 
Then we ought all to be pleased. 

Marion [ignoring Stanton's speech]. Yes, I 
wished very much to meet you, for I felt I owed you 
an apology. 

Mrs. Blakemore [astounded]. Apology! To 
me? 

Marion. Yes, for ever permitting you to go out 
in that automobile with Mr. Stanton when I knew 
that tire was weak and how recklessly he drives. 

[Stanton stares at Marion, amazed. Mrs. 
Blakemore is completely nonplussed.] 

Stanton. No — eh — ^you — you never can tell 
what will be the result of a trip in an automobile, 
can you? 

Mrs. Blakemore [from the bottom of her heart]. 
You never can. 

Marion. I think though, Howard, you should 
have warned Mrs. Blakemore what the result might 
be. [Marion moves to left. Howard moves to 
centre.] 

Stanton [beyond the depth]. What? I? [Stares 
helplessly at Marion.] 

[80] 



A WOMAN'S WAY Act II 



Mrs. Blakemore [with emphasis that shows very 
plainly she refers to the present result]. You should. 
Why didn't you? 

Stanton [turns helplessly to Mrs. Blakemore, 
then back to Marion, and back again to Mrs. Blake- 
more, staring from one to the other like the victim ex- 
pecting but not knowing where the next blow will land. 
Blurts]. I — how could I know.^ 

Marion [laughing, to Mrs. Blakemore]. He 
couldn't. I think we had both better forgive him. 

Mrs. Blakemore. Well, it's generous. 

Marion. Oh, no, not for me. I'm merely stand- 
ing up for my rights; forgiving is the one prerogative 
a wife never loses. 

Stanton [somewhat peevish]. I don't like that 
speech, Marion. Of course it's a joke, but it doesn't 
sound exactly right. It sounds as though — as 
though you had a great deal to forgive. 

Marion [soothingly]. Oh, I am sure Mrs. Blake- 
more understands. 

Mrs. Blakemore [hastily]. I think misunder- 
standings are terrible things. I have found the best 
way to avoid them is absolute frankness — absolute 
openness. My friends know just how to take me. 

Marion [with naive surprise]. Do they all take 
[811 



Act II A WOMAN'S WAY 



you the same way? If they do I'm sure I know you 
very well indeed, for Mr. Stanton has talked so much 
of the charming Mrs. Blakemore. 

Mrs. Blakemore [a vibrant hint of anger in her 
voice, to Stanton]. Oh, you've been talking about 
me, have you? 

Stanton [stares from one to the other, helplessly]. 
Er — a — oh — yes — yes — sure. 

Mrs. Blakemore. What did you say? 

Stanton [turning loeakhj from one to the other]. 
What did I say? Oh, I said you were — er — what — 

er [Imagination fails, he grins fatuously, then 

with inspiration.] What do you think I said? 

Mrs. Blakemore [feverishly]. The Lord only 
knows. 

Stanton [angrily, seeking justification]. Well, 
what did I say, Marion? 

Marion [sweetly]. Well, Howard, you were suf- 
ficiently enthusiastic to make me very anxious to 
meet Mrs. Blakemore. 

Mrs. Blakemore. You must have received a 
very graphic picture, Mrs. Stanton. I've always 
admired Mr. Stanton's powers of description and 
explanation. 

Stanton. Yes — I can explain anything! [Mrs. 
[82 1 



A WOMAN'S WAY Act II 



Blakemore transfixes him with a look. He stops, 
stares, stammers.] Er — ah 

Mrs. Blakemore [quickly trying to cover Stanton's 
embarrassment]. It was very good of you to invite 
me, Mrs. Stanton. 

Marion [quickly]. No, indeed, Mrs. Blakemore. 
I've always thought it a wife's duty as well as a pleas- 
ure to be interested in her husband's close friends. 

Stanton. Oh — ah — ah — I knew all along you 
two would like each other. [Laughing, embarrassed.] 
It rather reverses the old saying, *'like me, like my 
dog." [Suddenly stops aghast, realizing what he has 
said.] No — I mean my dog, like me. [Stops, more 
embarrassed than ever.] No — ^it's like — like — what 
is it like? 

[Both ivomen leave him to flounder without help.] 

Mrs. Blakemore. It's really charming, Mrs. 
Stanton, your inviting me — a stranger in a strange 
land. 

Marion. A stranger? How absurd! Why, How- 
ard, I had an idea Mrs. Blakemore was the lady I saw 
with you six months ago at Sherry's. 

Stanton [dumbfounded]. What! Six months? 

You No, you did not see me with any lady 

six months ago! 

f83l 



Act II A WOMAN'S WAY 



Marion [sweetly correcting him]. Indeed, but 
I did, dear. Oh, how foolish I am. [Apologetically.] 
I recall now that lady was a blonde. [Turns to Mrs. 
Blakemore, politely questioning.] It couldn't have 
been you? 

Mrs. Blakemore [haughtily touching her own 
head]. Of course it couldn't. 

Marion [to both generally]. You know really I 
have never heard the true story of your automobile 
accident. I'm so interested. Howard never would 
tell me. How did it occur .^^ 

[Mrs. Blakemore and Stanton look blankly 
in horrified fashion at each other. Marion 
sits between the two in attitude of strained 
attention as though she expected thrilling 
recitals. Stanton and Mrs. Blakemore 
look across at each other in guilty fashion^ 
each motioning to the other to begin. Finally 
both cough significantly at the same time.] 
Mrs. Blakemore [to Stanton], Why don't 
you tell? 

[Marion turns to Stanton.] 

Stanton. Er — ah — you see [To Mrs. 

Blakemore.] Oh, you tell it. You know you tell 
a story much better than I do. 
[84] 



A WOMAN'S WAY Act II 



Marion [turning to Mrs. Blakemore]. Yes, 
you tell it, Mrs. Blakemore. I'm sure you're a much 
better story teller than Howard. [With great sweet- 
ness. Pause.] 

Mrs. Blakemore [embarrassed]. I — I — I've never 
achieved any great reputation as a story teller. 

Marion [politely unbelieving]. No — really? 

Stanton. Oh, it wasn't anything, Marion. 

Mrs. Blakemore. Not anything at all, Mrs. 
Stanton. 

Marion. Oh, you are wrong, I know you are. 
I've never seen such modest people. Here you go 
through a thrilling adventure that set all New York 
by the ears and stirred up every newspaper into 
writing pages, and then you say it isn't anything! 
Why, I'm ashamed of you ! Why, I believe I could 
tell it myself. 

Stanton. Go ahead and tell it then. 

Mrs. Blakemore. Your version should be in- 
teresting, Mrs. Stanton. 

Marion [brightly]. Let me see. Of course you 
had dinner, that little roadhouse — you know the one 
— the first on the left-hand side when you leave 
New Haven — and you sat at that far-off little table 
in the corner with the vines around it. 
[85 1 



Act II A WOMAN'S WAY 



Mrs. Blakemore [surprised]. How did you know 
we sat there? 

Marion. That's where Howard always sits. 

Mrs. Blakemore. Indeed! 

Marion. And then you started. [Going into 
animated descriptioji.] Five miles — six miles, with 
the speed increasing every second. Now you pass 
fifty an hour — you reach that long hill. 

[Stanton arid Mrs. Blakemore are looking 

blankly at each other, absolutely dumbfounded 

and overwhelmed with the way Marion is 

handling the situation.] 

Nothing on the road can hold you! Down — down 

you go round the first turn on two wheels, you both 

laughing, laughing with the joy of being alive and 

being together, and the glory of the evening sun is 

upon you, and the madness of flying — of living — and 

then you forget everything, and then Howard leans 

toward you 

Mrs. Blakemore [startled]. How do you know he 
leaned .f^ 

Marion. Oh, in automobiles Howard always 
leans. 

Stanton. Marion ! 

Mrs. Blakemore. Oh, you always lean, do you? 
[86 1 



A WOMAN'S WAY Act II 

Marion. Then came the crash and the darkness. 

And when you came to [Looks from one to the 

other.] Which one came to first? 

[Mrs. Blakemore and Stanton look guiltily 
at each other.] 

Stanton. Er — I don't remember, Marion. 

Mrs. Blakemore. I know, I did. 

Marion [clasps her hands]. Good! I knew you 
did. I was sure of it. [Confidential tone.] You 
know Howard always comes to his senses last. 

Mrs. Blakemore. I must really congratulate 
you, Mrs. Stanton, on your splendid description. 
It's almost as though you had been there yourself. 

Marion [politely]. Don't mention it. But I 
must not take too much credit. When one has a 
husband with the automobile habit one gets a good 
general impression you know. 

Wilson enters centre. 

Wilson. Beg pardon, ma'am, but Mr. Morris 
is on the upstairs 'phone. 

Stanton. Morris? Good! [Rises.] 

Marion. Howard! 

Stanton. No, I didn't mean that. I — I've been 
waiting for that 'phone message for some time. If 
[87 1 



Act IT A WOMAN'S WAY 

you'll excuse me, I'll be back when the others have 
arrived. 

[Both ladies bow acquiescence and Stanton ex- 
its centre with ludicrous haste and most evi- 
dent relief. Wilson exits after Stanton. 
As soon as he is off there comes a subtle 
change in the attitude of the two women. They 
are like two fencers who have felt each other 
out and are now just coming together for the 
real fight. Both are determined, both boldt 
and Mrs. Blakemore is the aggressor.] 
Mrs. Blakemore [with laugh]. Now we can have 
a real chat. 

Marion. Yes. 

Mrs. Blakemore. I think, Mrs. Stanton, you 
and I should be very good friends. We probably 
have interests in common. 

Marion. We probably have. 

[Mrs. Blakemore smiles confidentially. She 
is trying to overrun Marion by her supreme 
confidence and experience. Marion is ner- 
vous, like a novice going into a fight againd 
an old campaigner.] 
Mrs. Blakemore [lightly]. Let us be frank, you 
and I. Mr. Stanton has told me that you invited me 
[88] 



A WOMAN'S WAY Act II 

of your own free will. I appreciate that. I know 
why. 

Marion [with rising inflection, tantalizingly]. 
Yes.? 

Mrs. Blakemore [beginning to be a little nettled 
at Marion's coolness and quiet defence, but trying not 
to show her feeling]. Won't you be frank also? You 
knew about that unfortunate automobile accident. 
You knew the truth about it. You saw those con- 
temptible, lying stories in the papers. You knew 
there was some gossip. Your pride was aroused. 
You were afraid something might be definitely 
fixed. You determined to forestall everything by 
invicing me here. You planned a bold, a brilliant 
coup. I congratulate you, I thank you. 

Marion [quietly]. I knew you did not in the 
least understand, Mrs. Blakemore. 

[Silence for a moment, as Mrs. Blakemore 
stares at Marion amazed.] 

Mrs. Blakemore [sloivly, incredulously]. Then 
you mean 

Marion [very quietly]. I mean that I invited 
you here because I wished to meet the woman who 
was becoming such a close friend of my husband. 

Mrs. Blakemore [rises]. Mrs. Stanton! 
[89] 



Act II A WOMAN'S WAY 



Marion [rises]. I regret if I must seem dis- 
courteous while you are in my house, but I am glad 
the explanation has been forced. I know all about 
this "friendship." I can guess what you think. I 
know what he thinks he thinks, and I've invited you 

here 

Wilson [at centre door]. Mr. Oliver Whitney! 
[Enter Whitney, a good-looking, well-bred 
New Yorker, thirty -nine. He has a good 
sense of humor and sufficient experience to 
give him a sympathetic perspective on life; 
also he has the large heart of the bachelor, not 
sufficiently close to any one tvoman to have 
the inevitable petty annoyances of the relation- 
ship obtrude themselves. Whitney is enter- 
ing, all smiles. When he catches sight of 
Marion and Mrs. Blakemore standing 
face to face he stops short, an expression of 
amazement, almost consternation, showing 
for an instant on his face. Wilson remains 
on stage.] 
Marion [with quick cordiality of a ivoman bred to 
social exigencies]. Oliver! [Holds out her hand.] 

Mrs. Blakemore [with the delight of one who sees 
a friend and possible ally]. Oliver! 
[90] 



A WOMAN'S WAY Act II 



Whitney [recovering himself and smiling with ap- 
preciation]. How are you both? This is bully. 

Marion [aside to Wilson]. Tell Mr. Stanton Mr. 
Whitney has arrived. [Wilson bows. Exits. 

Whitney [coming forward and shaking hands with 
Marion]. Hope I'm not late, Marion. You know 
my failing. 

Marion [lightly]. One must always be late for 
a family dinner, Oliver. To be early does not show 
proper intimacy. 

Whitney [quizzically, looJcing at Mrs. Blakemore]. 
Family dinner? 

Marion. Yes. The families and you — and 

[Indicates Mrs. Blakemore with friendly gesture.] 
I see you already know Mrs. Blakemore. 

Whitney [enjoying the situation]. Oh, yes, de- 
lightful. 

Mrs. Blakemore [sits left of table]. Yes. Oliver 
and I are very old and dear friends. 

[Whitney is crossing to Mrs. Blakemore as 
she speaks.] 
Don't you remember the last time I saw you, Oliver? 
You were a true friend in distress. 

Whitney [pretending to think]. I — don't recall it. 

Mrs. Blakemore [casually as though speaking of 
[91] 



Act II A WOMAN'S WAY 

the most trivial matter]. Why I haven't seen you — 
have I — since you picked Mr. Stanton and me out 
of that ditch just beyond New Haven, after we went 
over racing you. 

Whitney [for a moment completely knocked off his 
poise, stares at her; then he sneaks a look at Marion. 
She is momentarily shocked but quickly recovers and is 
apparently oblivious that anything unusual has been 
said]. Er — I — ah — I don't beheve you have. [With 
over-enthusiasm.] How are you? You're all right 
now? 

Mrs. Blakemore. Oh, yes. But I never will 
forget how funny you looked when I came to in your 
machine, with — [starts to say ''Howard'' — catches 
herself, changes to] — Mr. Stanton, holding my head 
and you slapping my wrists. [Laughing.] You did 
look so funny. I don't believe I ever thanked you. 

Whitney [6-^/// flustered]. Oh, that's all right. 
I frequently look funny. 

Marion [pleasantly]. Yes. Being a hero does 
not agree with you, Oliver. You look funny now. 

Whitney. Do I ? Absurd ! Why should I ? 

^Iarion [innocently]. I don't know. Why should 

you 

[Whitney is standing, looking more or less 
[92 1 



A WOMAN'S WAY Act II 



like a fool, when Wilson appears centre. 
Marion turns to Wilson.] 
Yes, Wilson? 

Wilson. Mr. Stanton says, ma'am, he is very, very 
busy, and he will be down when the others have come. 
Marion. Very well, Wilson. 

[Wilson exits, 
[Marion turiis to the others.] The man evidently 
bungled my message. He's a perfect fool, I think, 
sometimes. I'll get Howard. [Rises, smiling.] He 
would never forgive me if I allowed him to miss these 
delightful reminiscences. 

Whitney [grimly]. Yes. I would like him to be 
in Oxi this. 

Marion [at the door]. I know you two will be 
able to amuse each other. [Exits. 

[Whitney brings chair over to Mrs. Blake- 
more, left.] 
Whitney [after a pause, blandly curious]. Not 
that I wish to seem discourteous, Elizabeth, but how 
did you get here? 

Mrs. Blakemore [smiling , coolly]. I was in- 
vited, as you were, I presume, Oliver. 

Whitney [with slight hardening of his tone]. Stan- 
ton asked you? 

[93 1 



Act II A WOMAN'S WAY 

Mrs. Blakemore. My friend, Mrs. Stanton, 
Oliver dear. 

[Oliver whistles.] 

Mrs. Blakemore. Oliver! 

Whitney [smiling]. You ought to forgive admi-^ 
ration, Puss. You're a wiz — you're two wizes. 

Mrs. Blakemore [smiling]. The admiration is 
genuine? [He nods.] Then prove it. 

Whitney. Well [Rises as though to approach 

her.] 

Mrs. Blakemore [motioning him back zvith both 
hands]. Not when we're alone. I'll take the tete- 
a-tete proofs for granted. You see I've had plenty 
of that kind. 

Whitney. Oh, you mean [Notices pearl 

collar.] By Jove ! Elizabeth, what handsome pearls ! 

Mrs. Blakemore [amused]. Think so? I like 
them. 

Whitney. Stanton? 

Mrs. Blakemore [shakes head, smiling]. Don't 
you recognize them? [He comes closer, then shakes 
his head.] I had them made into a collar — more 
serviceable than a rope. [He indicates himself with 
an amazed gesture. She nods smiling.] I knew you 
wouldn't mind. 

194 1 



A WOMAN'S WAY Act II 

Whitney [looks at collar with amused, retrospective 
air of an old man regarding the delightful follies of his 
past yoidh]. Honest? Was I ever that young? 

Mrs. Blakemore [reproachfully]. Oliver! 

Whitney. Yes, Puss, you are three wizes. 
[Moves away, sits down, amused.] 

Mrs. Blakemore [pathetically]. Be very nice to 
me to-night, won't you, OHver dear? 

Whitney. Well, will I? You just watch. 

Mrs. Blakemore. I mean when Howard is 
looking. 

Whitney. Oh! [Bends over suddenly convulsed 
loith laughter, Mrs. Blakemore watches him in 
puzzled fashion. Whitney straightens up. Pause.] 

I wouldn't have missed it for [Pauses thought- 

fidly.] Really, Puss, the only thing lacking to make 
this affair a perfect success is a Mrs. Oliver Whitney. 

Mrs. Blakemore [most seductively, but thought- 
fully]. I wonder? Could that be arranged? 

Whitney [looks at her a moment, then rises, takes 
chair over right. With decision], I'm sure it 
couldn't. 

Mrs. Blakemore. Why sure, Oliver? 

Whitney [sadly, with an undercurrent of malicious 
fun]. No woman will ever take me. 
[95] 



Act II A WOMAN'S WAY 

Mrs. Blakemore [indignantly, with open admira- 
tion]. I don't see why not? 

Whitney. Perfectly simple. [Smiles.] Because 
I never will ask any, dear. 

Stanton and Marion enter together, 

Stanton [entering centre, cordially]. Ah, Oliver, 
how are you? Wilson always bungles Marion's 
message. I'm sorry to have kept you waiting. 

Whitney. Oh, I didn't miss you. 

Mrs. Blakemore. Won't you show me your 
conservatory, Mr. Stanton. You've told me so 
much about it. 

Stanton. Why, certainly. [Both exit chatting. 

Marion [watches Stanton and Mrs. Blakemore 
off and then turns to Oliver with decision]. Oliver, 
will you do me a favor? 

Whitney. Of course. 

Marion. Will you be very nice to me to-night? 

Whitney. Well, will I? [In tone that implies 
amusement with undercurrent of seriousness.] You 
just watch. 

Marion. I mean when my husband is looking? 
[Whitney is amused, but he is also touched.] 

Whitney [after a strict pause, with sincere feeling], 
[96] 



A WOMAN'S WAY Act II 

Something seems to tell me that I'm going to be the 
belle of this party. Do you love him, Marion? 

Mabion. What is this, Oliver, a cross-exami- 
nation? 

Whitney. May I answer truthfully? 

Marion. Of course. 

Whitney. It is a proposal of marriage. 

Marion. Oliver Whitney, are you serious? 

Whitney. Now, Marion, forget you are a woman 
and be sane. 

Marion. Had we not both better try to be? 

Whitney [becoming serious]. I am sane. That is 
why I have spoken, because I have the right to 
speak. 

Marion. The right? 

Whitney. Yes. An uninterrupted honorable 
love of eight years has rights. It has the right to 
come to you when you are in perplexity, in distress, 
to let you know that it is at your service, ready, 
waiting, eager to be used in any way that you may 
see fit. Child, everybody who knows us both knows 
that I love you. [Sits.] And I would not have you 
break the littlest of our silly conventions for my sake. 
Therefore, I am here, ready to do the smallest service 
or receive the greatest honor. Do you love him? 
[97] 



Act II A WOMAN'S WAY 



Marion [with sincere feeling]. Yes, I love him, 
Oliver. 

Whitney [looks away a moment^ then turns to her 
with a smile]. Then we must show Mrs. Blakemore 
up. 

Marion [with determination]. I'm going to. 
[Falters a little.] But, Oliver, don't laugh at me. 
[Breaks a little.] I'm afraid 

Whitney. Afraid.'^ 

^Iarion. Yes. She isn't the least bit like what I 
expected. 

Whitney [amused in spite of himself]. What did 
you expect? 

Marion. Oh, you know the kind [With 

gesture indicating marcelled hair and exaggerated 
costume and very superior air.] You can see them 
in certain restaurants and at some first nights, and 
no matter how well they are dressed anything honest 
makes them seem cheap. 

W^HiTNEY [gently amused and reproving]. Your 
modesty doesn't do you credit. Did you think 
Howard would fall for one of the gold-purse brigade? 

Marion. I did think she would be that kind; I 
did not believe he could really care for that sort. 
I did not want to be jealous, hysterical, and lose 
[98] 



A WOMAN'S WAY Act II 

him. I wanted to be different. I wanted to show 
him how foohsh he was. I determined to invite her 
here, thinking it would be obvious. [Bitterly. Turns 
to mantel.] As it turns out, the only obvious thing 
is that I was a fool. 

Whitney [rises]. And now you are losing your 
nerve? 

Marion [with sudden decision]. No! I'm not. 
She must be that way at heart, even if it doesn't 

show on the surface. I'll [Crosses to him to 

front of softty stops shorty thinking; piteously.] I — I 
just couldn't stand losing — Oliver. [Brushes her 
hand over her eyes. He smiles tenderly with under- 
standing, sympathy, and encouragement.] I — love — 
him 

Whitney [with sympathy and understanding]' 
She's a quitter at heart. Thieves generally are. 
And one thing else — may I give you a little lesson 
in men? 

Marion. Please. 

Whitney. When love is dead the man jumps to 
the opposite extreme in type; when love is chilled 
by drifting or lack of sympathy, he hunts up some 
one to give him sympathy. She gives him sym- 
pathy, that's all. I think he loves you, child. Put 
[99 1 



Act II A WOMAN'S WAY 



that between your teeth and run off with the 
race. 

Marion. Thanks, I will. [With fine mixture of 
sympathy for him and appreciation of his generous 
help, lays hand on his just as Mrs. Blakemore and 
Stanton come down stage. Stanton is still a hit 
sulky and plainly shocked at seeing Marion and 
Whitney practically holding hands.] 

Mrs. Blakemore [pointedly]. My! How inter- 
ested. What is it? 

Marion [looking up brightly]. Oliver was just 
giving me a lesson in love. 

Stanton. Interesting? 

[Marion and Whitney look at each other and 
both laugh rather foolishly .] 

Mrs. Blakemore. It was. 

Whitney [looking up with cool audacity]. You 
ought to know, Puss. [Moves to Mrs. Blakemore. 
Lets the pet name drawl out fondly to Stanton's evi- 
dent surprise and Mrs. Blakemore's annoyance.] 
Marion somehow seems to doubt my ability as a 
teacher. Will you recommend me, Puss? 

Mrs. Blakemore [with affected lightness]. I? I 
couldn't. [With hint of challenge.] How could I 
recommend you as a lover? 

[100 1 



A WOMAN'S WAY Act II 



Whitney [stares at Mrs. Blakemore reproach- 
fully]. The ingratitude of woman! [Turns to 
Marion.] Well, I hope you are not going to be that 
way. 

Marion. I promise to remember. 

[From the interview with Marion on through- 
out the play Whitney assumes a lover-like 
attitude toward Mrs. Blakemore, to her 
intense annoyance and disgust.] 
Whitney [with satisfaction]. That ought to help 
some. 

[Stanton is plainly startled and irritated at 
Whitney's attitude toward Mrs. Blake- 
more.] 
Marion [noticing Mrs. Blakemore's pearls]. 
What a beautiful collar! I've never seen such ex- 
quisitely matched pearls. 

Mrs. Blakemore [moves to Whitney]. Yes, it is 
beautiful. A very tiresome old man gave it to me 
years ago when I was a girl. When men who are 
too lazy to work or have too much money for their 
own good grow old, they nearly always take up some 
foolish hobby like matching jewels or collecting 
bric-a-brac. Don't you think so, Mr. Whitney? 
Whitney [looking meaningly at Mrs. Blakemore]. 
f 1011 



Act II A WOMAN'S WAY 



Bric-a-brac is good. Won't you show me the con- 
servatory? 

Mrs. Blakemore. Why certainly. 

[They move up stage. Whitney looks at 

Stanton. Mrs. Blakemore and Whitney 

exit centre chatting. He is evidently enjoying 

himself hugely.] 

Marion [with admiration]. A stunning looking 

couple. 

[During the following scene with Stanton, 
Marion's real love for him must show 
through whenever opportunity offers and he 
is not looking. The love must he indicated hy 
silent acting, little involuntary movements of 
her body toward him, slight gestures indi- 
cating affection, facial expression, and re- 
pressed feeling when he is turned away from 
her.] 
Stanton. I don't like that fellow \Miitney — 
never did. 

Marion. I don't complain of your friends, 
Howard. 

Stanton. Of course not. How could you? 
Marion. Yes, Mrs. Blakemore is all I expected 
— and more. I'm so glad I asked her. 
[102] 



A WOMAN'S WAY Act II 



Stanton [trying to appear impersonal]. She is an 
extremely clever woman. 

Marion. So Oliver says. Now I thought her 
more beautiful than clever, but Oliver agrees with 
you. I did not know before they had been such 
close friends. [Goes to curtains.] Isn't it fortunate 
we invited him, too? 

Stanton. I don't see that it is particularly for- 
tunate. 

Marion [with assurance]. Oh, you need not really 
be jealous of him. Their affair, I have reason to 
believe, has been over some time. 

Stanton. Oh, you know all about it? 

^Iarion [doubtfully]. Yes — something. 

Stanton. Really ! 

IVIarion. I don't know that Oliver behaved just 
as he should. But men are all alike, I presume. 

Stanton. Do you mean to tell me that cad has 
been talking to you about Mrs. Blakemore? 

Marion [airily]. Oh, my gracious goodness, no! 
We had so much else to talk about. He would not talk 
of it. He's a gentleman. Things are just in the air, 
you know. [Down to fireplace.] Fortunate we in- 
vited him, too. Makes everything so congenial. 

Stanton. A very pleasant party! 
[ 103 ] 



Act II A WOMAN'S WAY 

Marion [with sincerity]. I have enjoyed it. 

Stanton. You and Whitney.? 

Marion [back of sofa]. Yes. OHver and I are 
very old friends — very dear friends. Let me see, 
the first time OHver proposed to me was eight years 
ago. 

Stanton [centre, sneering]. And the last time.? 

Marion. My dear Howard, I don't ask you any 
questions. 

Stanton [outraged]. You mean he has dared to 
make love to you here.? 

Marion [wearily]. My dear boy, how stupid of 
you! Men are all alike. 

Stanton [sternly]. Marion, you are my wife. 

Marion. Yes, Howard; you are my husband! 
[They confront each other.] 

Stanton [violently]. I tell you, I am not going 
to have that man making love to my wife. 

Marion [reproachfully]. Howard, I have not 
curtailed any of your privileges, why should you 
curtail my 

Stanton [with a gasp of horror]. Privileges? 

Marion. You seem to forget we may be di- 
vorced. 

Stanton. What of that? That does not give 
[ 104 1 



A WOMAN'S WAY Act II 



him any right to make love to you, or you to hsten. 
I am giving you the divorce, I'm doing the trans- 
gressing for this family — all of it! 

Marion [left centre, ^pleasantly]. Well, I'm glad 
you're going to assume some of the responsibilities 
of married life. 

[They are confronting each other when Mrs. 
Livingstone enters on a situation that is 
evidently strained.] 

Mrs. Li\^ngstone. Good evening, chil — [sees 
angry look on Stanton's /ac^ and changes greeting] — • 
my child ! Good everdng, Mr. Stanton. 

Stanton [shaking hands]. Good evening, Mrs. 
Livingstone. [Stands a moment awkward before her 
coldness, then blurts.] I'll tell the others. 

[Exits hastily up stage right. 

Mrs. Li\t:ngstone [right]. Every time I enter 
you two seem to be quarrelling. 

Marion [left centre, throwing her arms suddenly 
about her mother's neck and kissing her]. Mother, 
I'm so happy ! 

Mrs. Livingstone. H'm! If quarrelling with 
your husband makes you happy it's a wonder you're 
not giggling all the time. 

Marion [enthusiastically]. Mother, it's going 
[105 1 



Act II A WOMAN'S WAY 



splendidly, my plan. [Joyously, moves to right.] He 
loves me! It's a wonderful thing to have your hus- 
band love you. 

Mrs. Livingstone [sniffing]. It's a novelty any- 
how. But this — what I saw? 

Marion [right centre]. Yes, mother — he doesn't 
know it, you see. [Pause. Then with ecstatic hap- 
piness.] If you hadn't just come in, he'd have 
slapped me! 

Mrs. Livingstone. Marion, are you crazy? 

Marion. Yes, mother, crazy — crazy with happi- 
ness. When was the last time father slapped you, 
mother? 

Mrs. Livingstone [in horror]. Marion! 

Marion. Why? Didn't he ever slap you, mother 
— almost, even? [The two look at each other, then the 
look of horror dies out of Mrs. Livingstone's face. 
She softens. Mushes, filially smiles with reminiscent 
tenderness. Marion shakes finger at her.] Almost, 
mother? 

Mrs. Livingstone [hesitating]. He did — almost, 
once. [Hastily.] But that was a long time ago. 

Marion. Mother! [The two throw themselves 
into each other s arms.] 

Mrs. Livingstone [after a long embrace, broken 
[106 1 



A WOMAN'S WAY Act II 



by little gurgling sounds of joy on both sides, releasing 
herself, and wiping aivay a suspicion of tears]. Your 
mother is an old fool, child, and don't you dare tell 
your father. [Goes to right.] 

[Mr. and Mrs. Bob Livingstone enter centre, 
unannounced. Bob Livingstone is a very 
tall, erect, perfectly conventional New Yorker 
of twenty-six. He is absurdly fond of his 
little wife, and she takes the greatest delight 
in bossing him.] 
Marion. Welcome to the bride and groom. 
Salie [kissing IVL^rion]. We are old married 
people, aren't we, Robert? 

Bob [agreeing eagerly]. I should say so. 
Salie. Don't say so that way. You are worse 
than Marion. 

Bob [goes right; meekly]. Yes, dear. 
Marion [to Mr. Livingstone]. That's right — 
jump through the hoop, Bobby. 
Bob. Forget it, Marion. 

Salie. As I told you, Marion, you know I don't 
want to criticise, but as I told you, if you only 
started out right. Now Bobby and I will never 
have any trouble in our family, will we, Bobby? 
[Moves Qv^r to Bobby affectionately^ then suddenly 
[107] 



Act II A WOMAN'S WAY 

pauses.] Is that a thread or a hair on your shoulder? 
[Quickly grabs at shoulder, jealously, then relieved.] 
Oh, a thread. 

Bob. Yes, dear, of course it was a thread. 

Marion. That's right, Bobby. Put that down 
in your httle book — one narrow escape. 

Wilson. Mr. and Mrs. Edward Morris! 

Marion [coming to meet them]. Ned, dear, you 
look handsome enough to kiss. 

Morris [as he shakes hands]. Cross my heart, I 
won't fight. 

Marion. I'll send it to you by Belle. [Kisses 
Belle.] 

Mrs. Belle Morris. Don't make Ned any more 
conceited, Marion. He firmly believes now all the 
women are running after him. I tell him if he can 
hold one he's lucky. That's all the Lord provided 
for one man. 

Marion. Be careful, dear. There's a great 
tendency nowadays to help the Lord out. [Marion 
goes down stage right, calls across.] Bobby ! 

Bob. Yes. [Crosses to Marion.] 

Marion. Some one here to-night will interest 
you, Bobby. Thought I would let you know in 
advance. 

[108] 



A WOMAN'S WAY Act II 

Bob. Yes? 

Marion. Mrs. Blakemore. 

Bob [aghast]. Puss? Here? 

Marion. "Puss?" How appropriate. 

Bob. Marion! How could you let her be in- 
vited? 

Marion. Do you think she would tell Salie of 
that romantic near-drowning and your affair last 
year at Palm Beach? 

Bob [under his breath]. If Salie should find out, 
what will happen? 

Marion. I don't know, Bobby. You'd better 
put that down in your book. 

Morris [coming to them]. What's the conspiracy? 

Marion. Oh, I was just speaking to Bobby of a 
guest I invited you to meet. She's so attractive 
she's carried off both Oliver Whitney and Howard. 

Morris. Well, any woman who can interest 
that old rake Whitney is worth knowing. Who 
is she? 

Marion. Mrs. Blakemore. 

Morris. Wha — wha — what? Who — notEliz 

Marion [very distinctly]. Mrs. Elizabeth Blake- 
more — Puss. 

Morris [with startled exclamation]. Eh — aw! 
[109] 



Act II A WOMAN'S WAY 

Marion. Is she your puss, too? 

Morris. Er — aw — isn't that the lady, Bobby, 
you introduced me to? 

Bob. Never heard of her before in my hfe. 

Marion. Then you introduce him, Ned. 

Morris [down stage to him]. You Har! 

Bob. Come on, call me that in front of your wife 
and let me explain. 

Enter General Livingstone. 

Marion. Dad ! 

General. My little girl! [Kisses her fondly.] 
[Marion takes her father's hand and Mrs. 
Livingstone's hand, standing between them. 
Gayly turns to lead them to the others down 
left, when Mrs. Blakemore, with Stan- 
ton on one side and Whitney on the other, 
enter up stage right.] 
Marion [gayly, and loud enough to draw attention 
of all]. Ah, here are the truants. 

Mrs. Blakemore. I hope we did not keep you 
waiting. 

Marion. Oh, no. Mrs. Stanton, may I present 
Mrs. Blakemore? Mrs. Blakemore, my father. 
General Livingstone. [At name Livingstone, Mrs. 
[110] 



A WOMAN'S WAY Act II 

Blakemore starts slightly.] My mother, Mrs. 
Blakemore; Mrs. Edward Morris, Mrs. Robert Liv- 
ingstone. You know my brother and 

Mrs. Blakemore. Oh, yes, I've had the pleas- 
ure of meeting Mr. Morris and Mr. Livingstone. 

[Morris and Bob, still linked arm in army have 
been standing ^petrified during the introduc- 
tions. Mrs. Blakemore comes to them with 
both hands outstretched.] 
My dear old friends! 

[Mrs. Belle Morris and Salie move for- 
ward. Mrs. Blakemore holds out a hand 
to each of the men, so that she gets one left and 
one right hand, the three making a little ring. 
Mrs. Morris looks at Mrs. Blakemore 
and starts forward indignantly from left to 
centre, where she stands like an avenging 
nemesis surveying her husband and Mrs. 
Blakemore.] 
Isn't this delightful.? 

Morris and Bob. How do you do? Delightful! 

[Marion moves doivn centre. Morris all up 

in the air. Startled jealous rush to centre 

by Salie; stands there with ^Irs. Morris.] 

Whitney. I always said, Marion, you were a 

[IXl] 



Act II A WOMAN'S WAY 



wonder at getting up interesting and congenial 
parties. What's your little game? 

Marion. Game! I'm having the time of my 
life — playing "Puss in the corner." 

Salie. Bobby — Bobby — you never told me you 
knew Mrs. Blakemore. 

Mrs. Blakemore. Oh, yes, your husband and I 
are very old friends. 

Bobby. Oh, yes. Where was it we met.^^ 

Mrs. Blakemore. Why, you remember, two 
years ago — ^Atlanta. 

Bobby. Oh, yes, Atlanta. 

Salie. Such good friends and you don't remem- 
ber the first meeting? 

Mrs. Stanton. Of the Virginia Blakemores, 
Farquhar County 

Mrs. Blakemore. Oh, no, my family came from 
Georgia. 

Belle Morris [coming forward] . Surprising we've 
not met before; I know most of Edward's friends. 

Marion. Rather surprising if you had met be- 
fore, I should say. Belle. New York is a large place. 

Mrs. Blakemore. And I've been here such a 
short time. You are such a charming hostess. One 
would think you had tried to get all my old friends — ■ 
[112] 



A WOMAN'S WAY Act II 



Marion. This is such a small party, I could 
hardly expect to have all your old friends. 

General Livingstone. We should all be glad 
this happy meeting has been brought about. [Bows 
to Mrs. Blakemore.] 

Stanton. Won't you come and see my new bil- 
liard table and how I've arranged the room? 

General Livingstone. We'll scarcely have 
time before dinner, Howard. 

Stanton. Oh, yes. I'll tell you a secret — a new 
cook. 

Marion. A new cook? 

Mrs. Livingstone. I can't see why a new cook 
should be cause for alarm. I trained Marion in 
housekeeping. 

Mrs. Blakemore. I should like to see the bil- 
liard room. 

[Exit Mrs. Blakemore with Stanton centre. 
The men all follow her out. First, the Gen- 
eral, then Bobby, then Morris, each excus- 
ing himself to his wife. The ladies stand 
aghast. Salie comes down to Belle.] 
Salie. I think. Belle, I should like to see that table. 
Belle [indignantly]. So should I. [Start for 
centre door]. 

[113] 



Act II A WOMAN'S WAY 



Mrs. Stanton. She seems a charming woman. 
Salie [as she exits with Belle]. But where's her 
husband, that's what I should hke to know. 

[Mrs. Livingstone and Mrs. Stanton /oZ/ow 
Belle Morris and Salie off, leaving Mar- 
ion and Whitney alone.] 
Whitney. W^on't you come, Marion? 
Marion. OUver, you won't desert me, will you? 
Whitney [puts his arms about her shoulders af- 
fectionately]. Poor little woman, buck up. 

Marion. What's the use of bucking up if she 
bucks off with him? 

Whitney. There, there! Keep your nerve. 
Marion. Nerves? I never knew I had so many. 
Stanton [reenters; stares at Whitney and Mar- 
ion]. Marion, what are you doing? 

Marion. Doing? I'm tying Oliver's tie. 

[Almost goes into Whitney's arms. They 
stand in loverlike attitude to Stanton's 
amazement and rage.] 



Curtain 



114] 



ACT III 



ACT III 

Scene: The dining-room in Howard Stanton's 
house. A large handsome room finished in dark 
tones, with hangings and draperies of deep rich red 
and maroon. At the rear centre a large handsome 
mantel with wood finishings. On either side of 
mantel are arched doorways leading into the conser- 
vatory , which is in plain view. On right up stage, a 
door to butler's pantry; on right down stage, a door 
to other part of house. On left doivn stage, double 
doors leading in from main hall. Just above doors up 
stage, an old-fashioned eight-day clock, evidently an 
heirloom. Dinner table is near the centre, a little to 
the right, so that the fire throws a glow over the table 
and the people seated there. The room is lighted with 
candles on the dinner table and the glow of the fire. 

Discovered: It is near the close of the dinner an- 
nounced at the end of Act II. They are seated about 
the table in the following order: Marion; to her 
right, Belle Morris, then Bob Livingstone, 
[117] 



Act III A WOMAN'S WAY 



Mrs. Stanton, General Livingstone, Mrs. 
Blakemore, Howard, Salie, Morris, Mrs. 
Livingstone, and Oliver on Marion's left. 
Wilson and the second man are just bringing the 
coffee. The women are all in high spirits, as are 
General Livingstone and Oliver; but the other 
three men show signs of being on a decided strain. At 
the rise of the curtain General Living stone is bend- 
ing toward Mrs. Blakemore, talking earnestly in a 
low tone; the others ivatching him more or less amused. 

Mrs. Blakemore. Come, come, General! You 
gentlemen of the old school are too gallant. 

General Livingstone [confidentiaUij]. Now, now, 
that was a secret. You must not let Mrs. Livingstone 
know how prettily I pay compliments. She'll be 
making me do it all the time. 

Marion [across table]. Will you listen to that 
dear old humbug ! 

Mrs. Livingstone. Do I understand that you 
really can pay comphments? 

Salie. He's been flirting shamefully. As a 
married woman I felt almost compelled to interfere. 
[Mrs. Blakemore and General Living- 
stone make laughing protests.] 
f 118 1 



A WOMAN'S WAY Act III 

Whitney [raps upon table and rises]. Being the 
only unmarried and therefore unprejudiced man at 
the table I feel called to the judicial position. [Dryly.] 
Now, siren, what have you to say for yourseK? 

Mrs. Blakemore. Am I allowed counsel? 

Whitney [looJcing in succession at Morris, Stan- 
ton, and Bob]. I dare counsel to appear. 

The Three Men. Dare? Why— I 

Salie. Robert ! 

Bob [meekly]. Yes, dear. 

Mrs. Blakemore [satirically to Bob]. And I 
was just about to choose you. 

Whitney. The sentence of the court is that 
General Livingstone shall pay a compHment aloud 
to each lady present at once. 

General Livingstone. Impossible! 

The Women. General! For shame! 

Whitney. The condemned refuses. 

General Livingstone [with a courtly bow to 
ladies]. He must refuse. The most charming 
things would merely be truth. 

[Wilson comes in through doors down stage 
left. Bends over and speaks low to Stanton. J 

Whitney. What chance have we young fellows 
against that? 

[119] 



Act in A WOMAN'S WAY 



Stanton [to Wilson, loiv]. Tell him I cannot see 
him. [Wilson exits.] 

Morris [seeing Howard is disturbed]. Anything 
important, Howard? 

Stanton [irritated]. Newspaper reporter. [The 
two men exchange glances.] 

Morris. Oh! 

Bob. What's his name, Howard? I know some 
of those fellows. 

Salie. I wish, Bobby, you'd be more careful with 
whom you associate. You'll be mixed up in some 
scandal next. [ There is a general but discreet gasp at 
Salie's speech.] 

Bob. K I am, dear, you'll thank heaven I know 
them. They're the squarest bunch in the world — 
to their friends. 

[Marion has been watching Stanton closely.] 

Marion. Bobby asked you the name, Howard. 

Stanton. Er — ah — Lynch, I believe. 

Mrs. Blakemore [mth a shiver]. Sounds hor- 
ribly Southern. 

Marion. Perhaps it's important. Had you not 
better see him? 

[Wilson re-enters and Stanton looks at him 
inquiringly.] 

\ no] 



A WOMAN'S WAY Act III 

Stanton. What is it, Wilson? 

Wilson [comes ovevy speaks low]. Beg pardon, 
sir, but the reporter says it*s very important, and 
you'll regret it if you don't see him. 

Mrs. Stanton. What impertinence ! 

Mrs. Livingstone. I don't know what we're 
coming to in this country! 

Belle. It is a threat. The idea! Edward, 
why don't you speak to him? 

Morris [crushingly]. This is something you know 
nothing of, dear. 

Salie [with contempt]. And he is your friend, 
Bobby — my husband's friend. 

Bob [devoutly]. Yes, praise heaven. 

Marion. Don't you think you had better see 
him, Howard? 

General Livingstone. Marion, you cannot 
expect Howard to be bullied into receiving such a 
person. It's an outrage. 

Mrs. Blakemore. I think nowadays people of 
position are too lenient with that class. The papers 
are taking advantage of it. They are becoming en- 
tirely too aggressive and impertinent, attempting 
to regulate the entire community. For my own 
part, I make it a rule never to speak to one of them. 
[121] 



Act III A WOMAN'S WAY 



Whitney [drawling]. Yes, I know a lot of people 
that way. 

Stanton [to Wilson]. Show the reporter out, 
Wilson. 

Wilson. Yes, sir. [Moves down stage left. Exits. 

Belle. Do papers in the South take such un- 
warranted liberties, Mrs. Blakemore? 

Mrs. Blakemore. Oh, my goodness, no. If 
you don't want anything in, you call up the editor 
and tell him so, and he keeps it out. 

Marion. I think we will give you gentlemen a 
chance at your cigars. 

General Livingstone. I hate sitting around a 
table after dinner. May we smoke in the conserva- 
tory, Howard? 

Stanton. Certainly, General. 

[Men except Bob folloio the General and Stan- 
ton into conservatory through archway at rear 
to right of fireplace.] 

Mrs. Livingstone. Marion likes going this way 
to the drawing-room after dinner. It's a pleasant 
little make-believe country trip. 

Mrs. Stanton. Yes. The conservatory is 
beautiful. Such splendid care of it shows Howard's 
taste. The Stanton men are all fond of flowers. 
[ 122] 



A WOMAN'S WAY Act III 

[Women exit through archivay to left of fire- 
place. Marion remains on, detained by 
Bobbie. When others are off she comes 
doivn stage folloived by him.] 

Bob [desperately]. Marion, what are we going 
to do? 

Marion. We? [Shakes head.] Oh, no, what 
are you going to do, Bobbie? 

Bob [pitiably]. But something must be done — I 
know her. If she isn't stopped she'll be coming 
here, coming here and calling me Bobbie — Bobbie — 
Bobbie — just as she used to. Only it won't sound 
the same now — and soon Salie will be divorced. 
Oh, Marion, you must save me. 

Marion. Poor boy. You're in a blue funk, I 
know. Salie has been putting you through the 
bride's third degree. You've been over the jumps — 
she told me of those two whole evenings of miserable 
happiness she spent with a wet handkerchief for- 
giving you stuff you confessed about your terrible 
past — fake stuff it was, Bobbie — and if she finds out 
this real thing! 

Bob. But why did you let him invite her here? 

Marion. I didn't let him. 

Bob. But you could have prevented it. 
f 123 1 



Act III A WOMAN'S WAY 

Marion. I suppose you mean why didn't I 
tell Howard of your affair a year ago at Palm Beach? 

Bob. Yes. 

Marion [pretending to be horrified]. Bobbie! 
How can you? Don't you remember I gave you my 
solemn word not to say anything about it? You've 
never released me from that promise. I couldn't 
tell Howard. Anyhow, with men I've noticed the 
best way is to let them find out for themselves. 

Bob. Then there's only one thing to be done: I 
release you from your promise. You must tell 
Howard. 

Marion [shaking her head]. Oh, no. You must 
tell Howard. 

Bob. I — I — but — oh — Marion, you know him 
better than I do. 

Marion. You know her better than I do. 

Bob. Very well. I'll tell him. I'll tell him to- 
night. 

[Morris comes on through arch left centre. 
Sees the two and starts down toward them. 
Bob notices Morris. Lowers Ms voice.] 
Sh! Old fat Morris — he's the good thing — I in- 
troduced him in Washington — thinks she's an angel 
from heaven — poor sucker. 

[ 124] 



A WOMAN'S WAY Act III 



Morris [coming down stage]. You two seem to be 
always conspiring. What is it this time? 

Marion. Nothing to alarm you this time. Don't 
look so worried. 

Bob. Gee! Ned, you look all in. What have 
you got on your mind.^ 

Morris. On my mind.'' Nothing. 

Marion. No one ever accused Ned of having 
anything on his mind. 

Bob. All right. I'm going for a smoke. I'll 
remember, Marion. [Goes off through arch up stage 
left.] 

Marion [to Morris]. Hadn't we better confess? 

Morris. What makes you think I have any- 
thing to confess? 

Marion. I don't think, I know. 

Morris. I don't understand. 

Marion. Do you remember the army and navy 
game last fall? Of course you don't, though. Belle 
was crazy to go over, but you couldn't take her. 
You were too busy — with a "client." 

Morris [pompously]. Yes, I was very busy. 

Marion. Indeed you were. What an absorbing 
profession the law is ! After the game in the Walton 
I sat three tables away from you and your "client," 
[125 1 



Act III A WOMAN'S WAY 

and you never saw me at all. How you do con- 
centrate 

Morris. But if you guessed everything, why did 
you let her come and me come? 

Marion. I didn't think it would do any harm. 

Morris. What's going to happen? 

Marion [wisely]. I see. You think if she isn't 
stopped she'll be coming here and coming here and 
calling you Ned — Ned — Neddie — just as she used 
to do — only it won't sound the same, and soon Belle 
will hear of it and Belle will get a divorce. 

Morris. Good God! Oh, Marion, Howard must 
be told. 

Marion. I don't honestly believe she'll tell him. 

Morris. You mean that I must. 

Marion. Just as you feel about it. Of course 
if you'd rather have Belle find out. 

Morris. I'll tell him. After all, he should under- 
stand. 

Marion. Yes. I count on your making him 
understand. 

Morris. Bobbie knows nothing. 

Marion. Bobbie? 

Morris. He introduced me. Of course he — 
why to her, he was a child. 

[ 126 1 



A WOMAN'S WAY Act III 

Marion. Oh! He introduced you — he was the 
good thing — he thinks her an angel from heaven — 
poor 

Morris. He doesn't even suspect the truth. 

Marion. I'm sure of that. 

Morris. Of course a woman hke Mrs. Blake- 
more could not be interested in the antics of a raw 
boy. 

Marion. Oh, no. To interest her it requires a 
man of poise, a man of dignity, experience, brains, 
substance, of weight — like yourself, for instance, 
Ned. 

Morris. It's wonderful how congenial she and I 
are. 

[Whitney appears arch, right centre. Comes 
down stage.] 

Marion [seeing Whitney]. Ah, Oliver, have you 
come to confess? 

W^HiTNEY. I? No. Has Morris been confess- 
ing? 

Morris. Absurd — confess? I? Why how ridic- 
ulous ! 

Marion. Yes — very ridiculous, Ned. 

INIoRRis [confused]. I wish to speak to Howard. 
He's still in the conservatory? 
[ 127] 



Act III A WOMAN'S WAY 



Whitney. He's a — with Mrs. Blakemore. 

Morris. I'll see him when he's through. [Starts 
up stage. Exits left archway.] 

Marion. They are all in it, Oliver. Howard, 
the worst of all I guess. [Crosses and sits on sofa 
down stage right.] 

Whitney. Yes. 

Marion. And I'm miserable. 

Whitney. How can I help you? 

Marion [pathetically]. Love me. 

Whitney [amazed]. Marion! Do you mean it.^ 
[Sits beside her.] 

Marion [shaking him by the shoulder]. Pretend 
to, I mean — don't be stupid. [Pathetically.] You 
promised to help me before dinner and you haven't 
done a thing yet. 

Whitney [with comprehension]. Oh! 

Marion. You're not very complimentary. Would 
it be so very hard to love me just for a little while .^^ 

Whitney. Go as far as you like. Don't mind me. 

Marion. You are a dear, Oliver. You must 
make him jealous. If he is jealous I'll know he still 
cares. If he doesn't — oh, I couldn't stand it if he 
doesn't. Oliver, you must make him jealous. [Lays 
hand on his hand affectionately.] 
[128] 



A WOMAN'S WAY Act III 



Whitney. Well, let's get this pretend business 
started. [Puts his arm about her waist.] Dearest! 

^Iarion [removing his arm]. But he isn't here 
yet. 

Whitney. Oh, I'm to make an exhibition of my- 
self for Howard, that's the idea? 

Marion. Yes. That's the idea — and for her — 
for Puss, too. 

Whitney. Puss? 

]VL\rion. Don't you call her Puss? Everybody 
else does. 

Gt ANTON enters conservatory left centre with Mrs. 
Blakemore. 

[Low.] There he is now. [Affectionately.] Oliver, 
dearest. [Stanton starts angrily, takes a step their 
tvay and is evidently about to interfere when Mrs. 
Blakemore restrains him. During the following scene 
Stanton tries repeatedly to come down to interfere 
bid is restrained each time by Mrs. Blakemore. 
Marion solicitously.] Oliver, dear, has the thought 
that I may be free soon quite taken away all your 
powers of speech? [Low.] That's pretty good for a 
starter; follow up. 

Whitney [impassioned tone, quite loud]. How can 
[ 129 1 



Act III A WOMAN'S WAY 



I speak? Oh, to suffer and to struggle hopelessly- 
all these years and then to find myself so near the 
goal of ultimate desire almost overwhelms me. 
[Ecstatically.] Ah, dearest! [LowtoJie.] Guess that 
will hold him for a while. 

Marion [then passionately]. Oliver, don't urge 
me, dear. Remember I am still married. Don't 
press me too hard. [Very loiv.] Take my hand, you 
idiot, you're not pressing anything yet. 

[Stanton is wild with jealousy y but the presence 

of Mrs. Blakemore keeps him in check. 

Mrs. Blakemore is also decidedly curious 

and doesn't know just what to make of it.] 

Oliver, Oliver, Oliver, here, take this one. [Giving 

hand to Oliver.] Remember I am still married. Do 

y^ou love me? 

Whitney. Look, look ! Can you doubt your eyes ? 

Stanton [low]. I won't stand this. 

Mrs. Blakemore. Oh! [Places hand on his 
army restrains him.] Look 

Whitney. How soon can the divorce be se- 
cured, dearest? 

Stanton. I tell you I'm going to break his neck 
— talking that way to my wife 

Mrs. Blakemore. It's splendid, dear — listen! 
[130 1 



A WOMAN'S WAY Act III 

Stanton. Splendid! Nothing! [Tries to break 
away from her; she stops him.] 

Marion. If it had not been for that automobile 
accident, I might have drifted on to the end of my 
days and never found out what I really thought. 
Oh, that — blessed automobile accident. 
[Whitney draws her to him.] 

Stanton. This disgraceful exhibition has gone 
on long enough. 

[Marion and Whitney jump up apparently 
much confused. Mrs. Blakemoke slips 
aivay out of sight into the conservatory.] 

Whitney [in tone of man caught with the goods hut 
determined to brazen it out. Haughtily]. Stanton! 

Marion [confused]. Oh! Howard, were you out 
there? I didn't know 

Stanton [bitterly]. I have been here since the 
beginning of this disgraceful scene — at least I hope 
it was since the beginning. 

Whitney [confused]. Why — a — a — why, we 
thought you were with Mrs. Blakemore. 

Marion. Yes. 

Stanton [turns on Whitney.] Whitney, how dare 
you make love to my wiie? 

Whitney [angry]. Stanton! Your wife — OUR 
[1311 



Act III A WOMAN'S WAY 



wife! [They confront each other.] You can't have 
'em all, you know. 

Marion. At least allow Oliver the discard, 
Howard. 

Stanton. You, Marion, my wife, you can say 
that — I can't understand it — I sat there — I could 
not credit my ears — in my house — you — my wife — 
forgetting j^ourself — me — answering the love of 
such a man — bringing him into this house — such 
disgrace — have you no shame? [Turns to Whitney.] 
And you, Whitney — you — my friend. How have 
you repaid me! [When his head is turned Marion 
shows every sign of happiness, realizing his jealousy 
is a proof of his love,] My friend and my wife in 
my own house. I brought you here — I welcomed 
you — I trusted you — and this is how you have re- 
paid my trust — my friendship. Have you no man- 
hood? What would you think if I 

Marion. Did you hear that? 

Stanton [fiercely]. Did I hear what? 

Marion. I thought I heard some one throw a 
brick through a glass house! 

[General Livingstone and Bob come on 
through arch right centre.] 

General Livingstone [as they come on]. A re- 
[ 132] 



A WOMAN'S WAY Ad HI 

markably attractive woman, Robert. Remarkably 
attractive. 

Bob. Yes, sir. 

Marion [down stage]. All of the other women 
will believe I'm monopolizing you men. I had 
better join them. [With meaning.] I hope to see 
all of you in a very few minutes. 

Stanton. Certainly. 

[Whitney crosses with Marion up stage left; 
she passes out through the left arch. Whit- 
ney turns, starts back down stage.] 

General Livingstone [as ^Iarion exits]. Rob- 
ert and I were just discussing Mrs. Blakemore, 
Howard. We agreed that she is a very handsome 
woman. How did Marion run across her? 

Stanton. Er — ah — I don't exactly know. 

General Livingstone [right centre]. Don't know? 

Whitney [rejoining others]. Quite accidentally, 
wasn't it, Howard? 

Stanton. Yes, that's it, quite accidentally. 

General Livingstone. Oh, I see. Just one of 
those queer coincidences . The way charming women 
frequently come together. 

Whitney [dryly]. Exactly. By the way. Gen- 
eral, this is just my chance. I've often wanted 
[ 133 1 



Act III A WOMAN'S WAY 



to get from your own lips the story of the bullet 
hole in this interesting bit of statuary, [hidicates 
clock. Crosses back of General Livingstone to 
clock.] 

General Livingstone [delighted tone]. Why, 
haven't I told you that story? 

[Whitney looks down stage away from the 

General, so audience can catch the look of 

extreme resignation and boredom on his face. 

General much pleased.] 

It was over a woman, of course. Back in 1770 

two loves made a serious business. [Voice sinks 

lower, talking earnestly, with Whitney listening. 

General and Whitney pass out into conservatory 

through arch rear centre. Morris is sitting at table 

centre, drinking now and then, smoking vigorously, and 

plainly worried.] 

Bob [in front of table, to Stanton, speaking low]. 
Well, you played hell with this party. 

Stanton [not knowing ivhat to expect]. What do 
you mean? 

Bob [with elaborate sarcasm]. What do I mean? 
I mean the weather — the airships — the Japanese 
war. You know what I mean. I think you played 
it low down. 

[134] 



A WOMAN'S WAY Act III 

Stanton. Look here, Bob, don't go too far. 
You refer, I presume, to one of our guests. 

Bob [bowing elaborately]. I do. [Then with irrita- 
tion.] Why was she invited to-night? Of all times 
to-night? 

Stanton [puzzled]. Why not to-night? 

Bob. Well, don't you think it's very embarrass- 
ing when you consider everything? 

Stanton. I don't see 

Bob. Why me — Mrs. Blakemore. Suppose Salie 
should get next? Whew! 

Stanton [dazed]. You? Mrs. Blakemore? 

Bob. Sure! Didn't you know? I thought you 
must know. I told Marion. 

Stanton. You told Marion? [Looks at Bob in 
dazed, horrified fashion.] 

Bob. Yes, when I was tied up with Puss 

Stanton [gasps]. Puss? 

Bob. That's the name I used to call her — pet 
name. 

Stanton. Oh, I see. The name you used to 
call her. 

Bob. Yes. It was last year at Palm Beach. 
We'd been awful good friends for a long time. She 
did like me pretty well, so of course I felt like a dog 
1135 1 



Act III A WOMAN'S WAY 



when I had to do it. But you know I met Salie 
and fell in love with her. I couldn't stand for the 
other then, you know, so I went to Marion. Mar- 
ion is a good fellow: you can't pull the wool over 
Marion's eyes. I made a clean breast, and Marion 
figured what to do and got me out. 

Stanton [almost collapses]. Marion knew? [Bob 
nods.] Got you out.^ 

Bob. That's what she did, dear old girl. 

General Livingstone [finishing his story aloud. 
Enters with Whitney] . So the seconds placed them 
on either side of the dining-room and they fired across 
the table. The Englishman's bullet struck that 
old clock and he crumpled up dead across the 
room beside the fireplace where all his love-making 
had been conducted. That was the way my great- 
grandfather avenged a wrong done a female mem- 
ber of his family. It was proper in those good 
days. 

Whitney. But duelling is out of fashion nowa- 
days, General. 

General Livingstone. A great many of the 
good customs have gone out of fashion in this dam- 
nable era of selfishness. [Contemptuously.] But I'm 
forgetting. You will go with us to the opera? 
f 136 1 



A WOMAN'S WAY Act III 

Whitney [doubtfully]. You are sure you have 



room: 



General Livingstone [crosses Whitney]. I'll 
telephone right up and have an extra chair put in the 
box. [Whitney makes a gesture of protest.] No 
trouble, not in the least. [Crossing to right.] How- 
ard, where is the 'phone on this floor? [General 
Livingstone crosses Bob right.] 

Stanton [coming out of his crushed daze] . Through 
this door. General. [Opens door lower right.] Can I 
do anything? 

General Livingstone [crosses Stanton]. No, 
thank you. [Exits, closing door. 

[Morris, with a little gesture of decision, rises 
from the table and comes to the fireplace to 
Tneet Stanton, Bob at the same time moving 
over toward Whitney on the left.] 
Morris [down right, embarrassed]. Well, How- 
ard, it's one on me! I'll have to confess, confiden- 
tially, of course, because I need your help. 
Stanton [suspiciously]. What is it? 
Morris. I did not think I'd ever be caught with 
the goods — and after all my lectures to you, too. 

Stanton. Caught with the goods? What do 
you mean? [Angrily.] Why can't you speak out? 
f 137] 



Act III A WOMAN'S WAY 



You lawyers get so in the habit of beating about 
the bush. Caught with the goods! What goods? 

Morris [smiling in asinine fashion]. Er — ah — very 
charming goods — you'll admit that — Mrs. Blake- 
more. 

Stanton. My God! 

Morris. It is bad, I'll admit. But you can 
understand — after your experience with the mysteri- 
ous lady in the automobile, can't you, eh? 

Stanton. Yes — I'm beginning to understand. 

Morris [with huge relief]. That's the best of 
having a damned rake for a brother-in-law. When 
you get in trouble yourself you can come to 
him. 

Stanton [losing his temper as it sweeps over him 
what a fool he has been, and mingled with that feeling^ 
the pain of his wounded self-love, lets his voice rise 
gradually to tone of vibrant anger]. Yes, a damned 
rake for a brother-in-law! That's what I have. 

Morris [making desperate but vain gestures to 
quiet him]. Sh! Howard! Please! 

[The other two come over hurriedly.] 

Stanton [right]. Why should I shield you? Yes, 
a damned rake. How dare you? You, the hus- 
band of my innocent sister! 
[138 1 



A WOMAN'S WAY Act III 



Morris. My God! man, you won't tell Belle. 
She'd leave me in a minute. 

Stanton. Why shouldn't she? 

Morris. But it's all passed. Lose her for what's 
past! 

Stanton. Lose her fortune, you mean? 

Morris [angrily]. Stanton! 

Bob [warningly]. Howard! 

Stanton [crosses Morris to Bob. Whirling on 
Bob]. You, too, Livingstone, you are no better. 
How dare you protest to me! [To Morris.] He 
just finished telling me the same. 

Bob and Morris [turning to each other, exclaim 
simultaneously y with wounded pride and amazement]. 
You, too! [Both nod.] 

Bob [amazement and involuntary anger]. I intro- 
duced you. You took my place. 

Morris [angry in turn]. Somebody had to take it. 

Bob. Well, I'll be damned! 

Stanton [between the two, with hitter contempt]. 
You both ought to be. [Indicates Morris and Bob.] 
Married ten years — married one month — the same. 
Two modern gentlemen. A nice state of affairs. 
A pretty state of affairs. A pleasant situation! 

[Whitney whistles. Pids his hand to his ear 
[139 1 



Act III A WOMAN'S WAY 



and stands listening intently. The three 
turn and stare at him. Crosses Bob to 
right centre. Morris moves to cross over. 
Bob goes up to join them.] 
What's the matter with you, Whitney? 

Whitney [left centre]. Oh, nothing. I thought I 
heard another brick go through that glass house. 
You are right though, Stanton, it is a pretty situa- 
tion. Now if we only had the name of the lady in 
your automobile accident it might be perfect. 

Stanton [centre, suddenly brought to earth]. Huh! 
[Stands with jaw dropped looking at Whitney. The 
situation is held a moment, then General Living- 
stone re-enters at right down stage.] 

General Livingstone [as he enters]. I managed 
to have two chairs placed in the box, Whitney. Sup- 
pose we take Mrs. Blakemore up with us. I tell you 
she's a charming woman — makes me feel young again 

Stanton [centre, aside]. Next! 

General Livingstone [right by table]. What's 
that, Stanton? Don't you think she's charming? 

Stanton [completely unstrung, with elaborate effort 
at self-control]. Yes, I think she's charming. Every- 
body seems to think she's charming. 

General Livingstone [surprised and puzzled]. 
\ 140 1 



A WOMAN'S WAY Act III 

Of course — why, if I were young [Nods his head 

after the fashion of an old man who has had his con- 
quests. Morris and Bob drop down left.] 

Stanton [losing all control]. Oh, there's no age 
limit ! I suppose soon you'll be like the rest — calling 
her Puss and begging me to help you out. 

General Livingstone. Sir! How dare you? 
What do you mean? 

Stanton. Mean? [Wildly.] I mean — nothing — 
ask them! [Points dramatically at Bob and Morris 
left, turns and flings himself out through right door 
lower, slamming it after him. ''No Wedding Bells 
for Me,'' whistle from Whitney.] 

General Livingstone [amazed, looking after 
Stanton]. What's the matter with the fellow? 
Has he gone suddenly insane? [Looks at Morris 
and Bob, who are left. Whitney up centre.] What 
is it? [Crosses Whitney.] 

Morris [hesitating]. Probably — he — ah — has wor- 
ries of some sort — he's — ah — he's — ah — often abrupt, 
you know. 

Bob [shakes his head, signifying that he cannot ex- 
plain]. Haven't the slightest idea, father. 

General Livingstone. But*'Puss?" "Puss?" 
What of "Puss?" 

[141] 



Act III A WOMAN'S WAY 



Morris and Bob [together guiltily]. "Puss?" 

What of "Puss?" 

Whitney [on General's right. Coming to the 
rescue with a quizzical look at the others]. That's a pet 
name, sir — in I may say quite general use. Stanton 
is worried. I'm sure he hardly realized what he was 
saying. He's had a great deal to upset him recently — 
that automobile accident. I'm afraid we teased him a 
little, and that with this reporter's calling to-night, put 
him off. I'm sure he'll be back in no time to apologize. 

General Livingstone [nodding]. Ah! To be 
sure. I'm sorry. He's had his lesson. 

Whitney [with emphasis]. He has! 

General Livingstone [to Morris a7id Bob]. 
Now you boys stop plaguing him. 

Morris and Bob. Yes, sir. 

[Wilson eiders down stage left, carrying silver 
salver on which there is a note. Looks about 
surprised.] 

General Livingstone [crosses Bob and Morris]. 
What is it, Wilson? 

Wilson. A note for Mr. Stanton, sir. That re- 
porter is back. 

General Livingstone. A note? 
[Whitney goes up.] 

f 142 1 



A WOMAN'S WAY Act III 

Wilson. Yes, sir. 

General Livingstone [looking about at the others 
for confirmation of what he is about to do]. It's a 
shame to bother the boy when he's so — excited al- 
ready. It's some trivial matter doubtless. I sup- 
pose it would be all right for me 

Morris. I should think so. 

Bob. He'll thank you, Dad, for taking it off his 
hands. 

General Livingstone. I'll do it. [Takes note 
from Wilson and reads, an expression of amazement 
' and anger coming on his face.] Well! Such imperti- 
nence ! 

Bob. What is it, Dad? 

General Livingstone [reads aloud, his voice 
trembling with indignation]. "Mr. Stanton — Sir: 
We have identified positively the lady who was with 
you at the time of your automobile accident. All 
the papers are clamoring for the story. We are 
going to release the story unless you prove our iden- 
tifications wrong. I would advise your seeing me. 
Harry Lynch, City News.'' 

Bob [gives a low whistle. Down right front of 
table]. Whew! That Lynch has a nerve. 

General Livingstone [centre, still trembling with 
[ 143 1 



Act III A WOMAN'S WAY 



indignation]. I'll see to this. That poor boy shall 
not be worried by this damnable hounding any 
longer. 

Whitney [down centre]. I hesitate about sug- 
gesting, General; but don't you think it might be 
well to have Morris see him instead — as a lawyer 
Morris could make the necessary threats of libel 
suit. 

General Livingstone. Lawyer the devil ! This 
is no time for a lawyer. This is the time for a man ! 
[To Wilson, grimly threatening.] Show that re- 
porter in here. 

Wilson. Yes, sir. [Exits down stage left. 

Bob. Careful, Dad. He's the star man. 
General Livingstone [trembling with rage so fie 
can barely speak]. Careful .^^ Huh! You see I am 
calm, quite calm ! 

Bob [low]. I wouldn't like to be Lynch. 

[Lynch enters down stage left, ushered in by 
Wilson. Lynch is dressed as in Act I. 
He glances about room quickly, sees Morris, 
but pays no attention to him; catches Bob's 
eyCf smiles slightly, nods.] 
Lynch. Hello, Livingstone! 
Bob. Evening, Lynch. 

f 144] 



A WOMAN'S WAY Act III 

General Livingstone [still struggling to suppress 
his anger]. Well, sir? [Lynch looks at him curi- 
ously ^ quite undismayed and rather amused.] 

Lynch. Yes? 

General Livingstone. I am General Living- 
stone. 

Lynch [carelessly, in tone of one getting off stereo- 
typed speech]. Oh, yes. General, I recognize you. 
We know most of the big men. 

General Livingstone [holding up Lynch's note]. 
What do you mean, sir, by this note? 

Lynch. My note? Isn't it quite plain? I think, 
though, I addressed it to Mr. Stanton. 

General Livingstone. Plain! It's too dam- 
nably plain! It's despicable, contemptible — black- 
mail! 

Lynch [turning to Bob]. Livingstone, you ought 
to know better than let your father make such a silly 
mistake. 

Whitney [front of the General, pleading tone]. 
General ! 

Bob. Dad! 

General Livingstone [centre to Bob] . Hold your 
tongue, sir. [To Lynch.] I represent Mr. Stanton, 
and I tell you, sir, I do not propose to have him 
[ 145 1 



Act III A WOMAN'S WAY 



hounded in this damnable fashion any longer. I 
shall hold you personally responsible. 

Lynch. General, you're the fifth man who's said 
that to me since three o'clock. 

General Livingstone [5/iarp]. What! 

Lynch. And if you do physically assault me. 
General, I shall certainly land you in the night court, 
and collect space on the story — spread on the front 
page, sure — "Famous old soldier fined for brutally 
assaulting innocent young newspaper man." 

[General Livingstone stands completely 
dumbfounded^ his hands twitching^ quivering 
with rage.] 

General Livingstone [gasps almost tearfully]. 
Have you newspaper men no sense of personal de- 
cency.'' Personal dignity? 

Lynch. Don't be too hard on us. General. Dur- 
ing business hours our associations are very 
bad. 

General Livingstone. What do you mean? 

Lynch. We have the name of the lady who was 
with Mr. Stanton in his car at the time of his acci- 
dent. We have learned all about the trip — and we 
have the woman's name. So I have come to give 
Mr. Stanton a — - 

[ 146 1 



A WOMAN'S WAY Act III 

General Livingstone [interrupting]. Would the 
papers print that? 

Lynch. Would they print it? Well [Smiles 

significantly.] 

General Livingstone. Then I shall say noth- 
ing — but our lawyer will take action. 

Lynch. They'd better take it quick. You'll 
have fifty reporters up here by to-morrow night. If 
Mr. Stanton refuses to say anything, we will simply 
send out the story that the woman in the car with 
him at the time of his automobile accident was — 
[pause, then with dramatic emphasis] — Mrs. Eliza- 
beth Blakemore. 

General Livingstone [starting back in amaze- 
ment]. Good gracious! 

Bob and Morris [turn, face each other, absolute 
amazement showing on their faces, speak together]. 
Well, what do you think of that? 

[Whitney alone is not surprised. The situation 
is held a moment, then Stanton enters down 
stage right. He does not see Lynch at first.] 

Stanton [as he comes on]. General, I wish to 
apologize [Stops short, seeing Lynch.] 

General Livingstone [whirling on Stanton]. 
Apologize? Apologize? How dare you, sir! [Los- 
[147] 



Act III A WOMAN'S WAY 



ing his self-control.] My great-grandfather killed 
his man for just such an insult 

Stanton [misunderstanding]. I did not mean to 
insult you, General. 

Whitney [stepping in between]. All this can be of 
no interest to Mr. Lynch. He wants a direct state- 
ment. [Turns to Lynch.] I'm sure, Mr. Lynch 
if you'll come with me just a moment, Mr. Stanton 
will give you a statement! [Lynch is reluctant to 
go, but Whitney in the most friendly fashion takes 
him by the arm and practically ushers him out into 
the hall.] When you wish to see Mr. Lynch, Stan- 
ton, he'll be here with me. 

[Exits after Lynch, closing the double doors 
after them.] 

General Livingstone [to Stanton]. Now, sir, 
we have only members of the family here. I will 
settle with you. 

Stanton [amazed]. Settle with me? 

General Livingstone. Although you did steal my 
daughter, I had forgiven you. I had come to think 
you a gentleman. Even for her sake, I forgave this 
recent scandal. But such shameful — such dastardly 
conduct passes all consideration — bringing that 
woman into this house. Horsewhipping is too good 
[148] 



A WOMAN'S WAY Act III 

for you, sir. Palming off this woman on my daughter 
— your wife. Your innocent wife! If I were only 
younger. [Glances toward clock with bullet hole in 
it.] They knew better how to settle a case of this 
kind in the old days. 

Bob. I can settle it, father. 

Stanton [turning fiercely on Bob]. You? [The 
men confront each other.] 

General Livingstone [his voice breaking]. My 
poor child — she must not know! 

Marion [appearing in archway left centre; looks in 
reprovingly]. Haven't you ungallant men finished 
your cigars? [Sees the strained attitude of all, comes 
in quickly.] What's the matter? [No one speaks.] 
Tell me! What is it? 

General Livingstone [mastering his emotion]. 
Marion, Mrs. Blakemore must leave this house at 
once. 

Marion. Father! I do not understand. 

General Livingstone. Don't ask questions, 
Marion. Just accept your father's word. She 
must leave, and then I will take you home ! 

Marion [shakes her head]. But Mrs. Blakemore 
is our guest, father. You are our guest also. You 
must explain. 

[149 1 



Act III A WOMAN'S WAY 



Stanton [right centre]. That reporter got in, 
Marion. 

Marion [a light dawning]. Oh! 

General Livingstone. You cannot stay with 
decency under the same roof with the woman whom 
this scoundrel has pahned off on you. 

Marion. I invited Mrs. Blakemore. 

General Livingstone. Marion! 

Marion. I know everything. I knew when I 
invited her. 

General Livingstone. Marion, you are insane. 

Marion. No, father, only sensible. [To Stan-* 
ton.] Is that reporter still here? 

Stanton. In the hall. 

Marion. Ask him to come in. [Stanton hesi- 
tates.] Bring him. 

General Livingstone. He shall not. 

Marion. Father, I told you once what concerns 
my own life I must settle my own way. I don't 
want to appear disrespectful, but you cannot coerce 
me in my own house. [Walks past him to the door 
down stage left, opens the door.] Good-evening, Mr. 
Lynch. Won't you come in? You, too, Oliver. 
[Lynch and Whitney enter, the reporter surprised, 
rather suspicious, Marion holds out her hand to 
[150] 



A WOMAN'S WAY Act III 

Lynch.] How are you? This is an unexpected — 
pleasure. 

Lynch [sincere tone]. I hope you will believe me, 
Mrs. Stanton, when I tell you it is not a pleasure 
to me to have to come on this errand. 

Marion. Thank you, Mr. Lynch. 

Lynch. I'd rather talk to Mr. Stanton. 

Marion. Sorry, but [Her manner is pleas- 
ant and friendly hut firm. Lynch evidently likes her; 
with a shrug he accepts situation.] 

Lynch [left]. Then please understand my posi- 
tion and how I regret personally the questions that 
as a newspaper man I must put. [Marion hows.] 
Bluntly, Mrs. Stanton, we have the name of that 
woman. 

Marion [centre]. Yes? 

Lynch. And we are going to publish it unless it 
can be proved wrong. 

Marion. I'd expect that. Who is she? 

Lynch. Mrs. Elizabeth Blakemore. [Lynch 
pronounces the name regretfully, Marion stares at 
him a moment in amazement, then throws hack her head 
and giixs way to a peal of laughter. The men on the 
stage stare at Marion amazed.] 

Marion. Oh, this is too good! Too good! For- 
f 1511 



Act III A WOMAN'S WAY 



give me, Mr. Lynch. [Goes off into another peal of 
laughter, turns to the men.] Howard, Dad, all of you, 
did you hear that? What a splendid joke! 

[The men try awkwardly to hack her up.] 

General Livingstone [right centre]. Splendid! 
Haw ! Haw ! 

Bob [right]. Fine! Ha, ha! 

Morris [at head of table]. Ho, ho! I never knew 
anything like it. 

Whitney [left] . I told Mr. Lynch he was on a cold 
trail. 

Lynch [left centre. Grimly]. You can't laugh 
me off. 

Marion [struggling for self-control]. Of course 
not. But you must forgive me having my laugh 
first. I'll offer more substantial proof. [Moves to 
arch left centre. Calling in her most dulcet tone off 
left.] Elizabeth! [Pause.] Elizabeth, dear! [Pause.] 
Puss! 

Mrs. Blakemore [her voice off stage left]. Yes, 
Marion, dear. 

[An amazed gasp from the men. Mrs. Blake- 
more appears at the door.] 

Marion. Come in! 

[Mrs. Blakemore enters, looks about quickly, 
\ 152 1 



A WOMAN'S WAY Act III 

almost fearfully. Marion slips her arm 
about Mrs. Blakemore's waist in reassur- 
ing fashion, laughing, but at the same time 
giving Mrs. Blakemore a warning pres- 
sure with her arm.] 
Don't say a word, dear. The greatest joke you ever 
heard ! Come ! 

[Mrs. Blakemore, following suit, slips her 
arm about Marion. They come down stage 
to Lynch, their arms about each other's 
waist most affectionately; the men are staring 
at them dumbfounded. Marion and Mrs. 
Blakemore stop opposite Lynch. Marion 
speaks gayly.] 
Mr. Lynch of the City News, may I present Mrs. 
EUzabeth Blakemore? 

Lynch [in amazement]. Mrs. Blakemore? 
Mrs. Blakemore [bowing pleasantly]. Glad to 
meet you, Mr. Lynch. 

Lynch [repeating, dazed]. Mrs. Blakemore! 
Marion [gayly]. And you see she's not lame a 
bit from her broken leg. 

Mrs. Blakemore. What's the joke? 
Marion [jauntily]. You would not expect, Mr. 
Lynch, to find plaintiff and corespondent so friendly. 
[153] 



Act III A WOMAN'S WAY 



Mrs. Blakemore [gasping]. Plaintiff! Core- 
spondent ! 

Marion. Yes, dear, Mr. Lynch came all the way 
up from downtown to tell me that I am going to 
bring a divorce suit against Howard, naming you as 
corespondent. Now wasn't that sweet of him? 
[She keeps her warning pressure about Mrs. Blake- 
more's waist.] 

Mrs. Blakemore [taking the cue]. This is awful! 
Horrible ! 

Marion. Now, dear, don't lose your sense of 
humor. [To Lynch.] Are you satisfied, Mr. 
Lynch? 

Lynch. Forgive me, Mrs. Stanton, but you are 
so confounded clever you might run in a "ringer." 
[Reaches in his pockety brings out a picture, holds 
it up and compares the picture with Mrs. Blake- 
more, finally looks up.] Guess you win, Mrs. 
Stanton. 

Marion. Thanks. [Boies satirically.] 

Lynch. Yes, you must be right. I don't be- 
lieve even you could put your arm about the other 
woman. 

[A suppressed, gasping exclamation from the 
men.] 

[ 154] 



A WOMAN'S WAY Ad III 

Marion. That observation hardly requires an 
answer, Mr. Lynch. 

Lynch. Sorry to have disturbed you. Good- 
night. 

All [with relief]. Good-night. 

[Lynch exits. Mrs. Blakemore starts to 
drop her arm from about Marion.] 
Marion [seizing Mrs. Blakemore's arm and 
draiving it back tight about her waist]. Hold it ! Hold 
it ! He came back last time. 

[They stand posed expectantly with set smiles. 
The door begins to open.] 
Yes, indeed. Quite the handsomest man I have 
seen in years. 

Lynch [reopening the door]. I beg your pardon. 
[His face falls as he sees the picture undisturbed.] 

Marion [sweetly]. Did you forget your gloves, 
Mr. Lynch? 

Lynch. Er — ah — I thought so — but I find I 
was mistaken. Good-night. 

Mabion and Mrs. Blakemore. Good-night. 

[Door closes after Lynch, the women drop their 

arms from about each other's waist sharply; 

then step wide apart with instinctive dislike. 

There is a moment's awkward pause, while 

[155] 



Act III A WOMAN'S WAY 



the situation is held. Then Marion smiles 
the conventional smile of a conventional 
hostess.] 

General Livingstone. Marion, I insist 

Marion. Father, will you and the boys join the 
others? They are waiting — Mrs. Blakemore and 
I will come in a few minutes. [General Living- 
stone makes as though to speak.] Father, please. 

General Livingstone. Very well. [Crosses left 
and exits through arch left, followed by Whitney, 
Morris, and Bob.] 

Mrs. Blakemore [ivhen door has closed], Mrs. 
Stanton, I don't know how to thank you for what 
you have just done for me. You've quite disarmed 
me. You had it in your power to make a very ugly 
scandal and you saved me. I am powerless. Your 
generosity beats me. 

Marion. Did you think I did that for you? Do 
you think I could have done it merely for you, Mrs. 
Blakemore? No — I did it for my husband; for his 
honor, for his good name; for my own good name. 
I did it to save his mother the pain and the de- 
spair of an ugly scandal; I did it to save my own 
parents from suffering — I did it to give my husband 

a chance to realize his true position 

[156 1 



A WOMAN'S WAY Act III 

Stanton. I do realize it. [Turns to Mrs. 
Blakemore.] Oh, my eyes are opened now — I've 
been a fool — a dazzled fool, but now I see clearly — 

you've done that [To Mrs. Blakemore.] 

You've opened my eyes — you've showed me what a 
splendid woman my wife is. Thank you, Mrs. 
Blakemore, for teaching me — and — good-night. 

Marion [to Mrs. Blakemore] . No — I'm through 
— take him — I give him to you ! 

[Exits quickly through right door lower. 

Mrs. Blakemore. Not for mine; you'll get 
all that's coming to you after I'm gone. Good- 
night, my friend, a pleasant evening and good luck. 
[Exits double doors left, Stanton stands a 
moment staring after her, then turns quickly 
to door down stage right. Calls.] 

Stanton. Marion! Marion! 

Marion [enters]. Has she gone? 

Stanton. Has who gone? 

Marion. Puss? 

Stanton. Oh, she's not my Puss. 

Marion. Not your Puss, Howard? Then whose 
Puss is she? 

Stanton. God knows — maybe. Marion, I've 
loved you all the time. I've been a fool, a weak, 
1157] 



Act III A WOMAN'S WAY 



dazzled fool! I love you! Won't you take me 
back? 

Marion. Take you back? Why, I've never 
even given you up. Do you think I could stand 
for that cat — Puss, I mean — in this house and me off 
in Reno? 



CURTAIN 



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